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Saturday, March 24, 2012

All The World’s A Game

dungeons & dragons
Editor’s note: Tim Chang is a managing director at Mayfield Fund. This is the first in a three-part series about the Quantified Self movement. Follow Tim on Twitter @timechange.
As a lifelong gamer, I grew up fascinated with role-playing games, from pen-and-paper fantasy worlds of Dungeons & Dragons, to computer-based RPGs like Ultima and Wizardry. I’ve spent thousands of hours crafting and “leveling up” dozens of alternate personas, tuning their stats and experience point allocations across various character traits, and charting their virtual careers. I’ve always loved exploring all the different possible attributes and powers to minimize or maximize, and then mapping out how to achieve the optimal configuration for my style of play.
Several years ago I started wondering, “What if real life were the ultimate role-playing game? What character class would I be, and what would my current level be? Which skills would I go deep in and master?”
What started out as a fun thought experiment grew into a bit of an obsession — not only in how I approach life personally, but also in my job as a venture capitalist. Having been an early investor in social gaming and backing companies like Playdom, ngmoco, Lumos Labs, and Badgeville, I’ve witnessed the interplay between “real world” social media and “in game” behaviors generate tremendous value (Playdom was acquired by Disney for $763M, and ngmoco was bought by DeNA for $403M; Lumos Labs and Badgeville continue to grow like weeds). Now Gamification (the application of game mechanics to non-game fields) influences much of my ongoing thinking and investment.
I believe we all have a “superpower,” no matter how niche or small it may seem. In the game world, we always know precisely what our superpower is and what level it’s at, how we’re being scored and how each action affects that score. Our superpower is explicitly shown to and valued by other players. In the real world, our talents, tastes, and know-how aren’t always evident, yet we spend our lives, often ineffectively, trying to score, balance and demonstrate them. But now we have the technology to bring the scoring, feedback and interactivity of games into our real-world lives.
Thank the Quantified Self movement, which centers around gathering as much personal numerical data as possible and analyzing it, for making this possible. Together with the Quantified Self, Gamification will have a huge impact on how we play the “Game of Life.”
‘If It Ain’t Fun, It Don’t Count’
These days, there’s a lot of grassroots buzz and increasing hype around Quantified Self. The problem, though, is that early Quantified Self adopters — like me — are tech-savvy people fascinated with data and new devices. Unlike us, however, the mainstream consumer is never going to go out of her way to adopt all these newfangled sensors simply for the sake of raw data.
After all, I could give you a lifetime’s worth of granular information about your lipid levels and heartbeat, but so what? If it’s presented as just data, you’d say, “That’s cool, but what am I supposed to do with it?” As my friend Brett Leve from Summit Series likes to say, “If it ain’t fun, it doesn’t count.”
That’s where gamification comes in. A game at its basic definition is nothing more than an objective for victory, a score, and a clear set of rules for how players can influence that score. A score of 64 is meaningless, but add a rubric, a goal and clear paths to get there, and you’ve got a game going.
The Seven Deadly Sins
But isn’t “fun” subjective? Well, yes — different people play each game differently. But there is a unifying framework to understand the core motivations for most people.
When I first got into the venture capital business more than a decade ago, I thought that I’d spend my time evaluating disruptive technologies coming out of deep IP research labs. But after lots of time with consumer-facing startups, I came to rely on the framework of the Seven Deadly Sins (7DS) to help me decode what makes a social media app or site addictive.
As an example, young males often index highly on Wrath, as they love to compete and rub their wins in each other’s faces. As they rack up points and achievements, they climb the leaderboards, which indulges their Pride.
Older female players typically seek self-discovery and affinity with others instead of head-to-head competition. They respond to Envy, as well as Greed when presented with the opportunity to collect sets of special items.
Now, I’m not suggesting that entrepreneurs go out and build sites that ruthlessly exploit consumers or encourage users to mercilessly prey upon each other. What I’m pointing out is that it’s better to understand root motivations (especially for younger users), and be able to reverse engineer them to design engagement loops in your site, app or service.
In fact, Gamification platform vendors like Badgeville and Gigya now offer plug-and-play systems to instantly tap into the power of game mechanics for your business. As an example, Shoebacca, an up-and-coming online shoe store, leverages social gamification tools from Gigya to shape desired consumer behavior on their site. As soon as users sign in with their preferred social account, they are instantly awarded with points, badges and social standing with the larger site community as they interact with products and content. By tying gamification with users’ social graphs (their social network friends), shoppers are incentive to compete, share, and essentially “play” with their real friends for social rewards when they make purchases, view pages or drive valuable referral traffic to shocebacca.com.
Game on!
As users are presented with unique data and scores about themselves along with interesting insights that tell them “here’s what will happen to you if you do X, Y, or Z next,” life really does start to resemble the immersive and captivating role-playing games that I grew up with.
And if this enables each of us to better identify, improve and share our individual superpowers in the real world, while having fun in the process and becoming closer to our ideal selves, then I say: “Game on!”

Companies: Norwest Venture Partners, Gabriel Venture Partners, Dealmaker Media, ngmoco, Iridigm Display Corporation, Lumos Labs, PCH International, Brite Semiconductor, AdChina, AllReach Media, Badgeville
Tim is a Managing Director at Mayfield Fund, focusing on investments in mobile, gaming, digital media, social media, eCommerce, and AdTech in the US and China. Tim’s venture investments have generated more than $1.3B in M&A exit value, and he was named on the Forbes 2011 Midas List of Top Dealmakers. Previously, Tim was a Partner at Norwest Venture Partners, where led NVP’s investments in AdChina, PCH International, All Reach Media, Lumos Labs, Basis, Badgeville, Brite Semiconductor and...
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Founded in 1969, Mayfield Fund is a venture capital firm located in Menlo Park, CA. The firm has over $2.7 billion under management with expertise in communications/wireless, consumer/media, enterprise software and semiconductors.
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Amid Privacy Concerns, Apple Has Started Rejecting Apps That Access UDIDs

Kim-Mai Cutler is a technology journalist who has worked for Bloomberg, VentureBeat and The Wall Street Journal. Before she joined TechCrunch, she led mobile coverage at Inside Network, a six-person media startup that was acquired by WebMediaBrands in 2011 for $14 million in cash and stock. She specializes in covering gaming, distribution and monetization of mobile applications and venture... ? Learn More
UDID
Amid extra scrutiny from Congress around privacy issues, Apple has started rejecting apps that access UDIDs, or identification numbers that are unique to every iPhone and iPad, this week.
Apple had already given developers a heads-up about the change more than six months ago when it said in some iOS documentation that it was going to deprecate UDIDs. But it looks like Apple is moving ahead of schedule with pressure from lawmakers and the media. It can take more than a year to deprecate features because developers need time to adjust and change their apps. A few weeks ago, some of the bigger mobile-social developers told me that Apple had reached out and warned them to move away from UDIDs.
But this is the first time Apple has issued outright rejections for using UDIDs.
“Everyone’s scrambling to get something into place,” said Victor Rubba, chief executive of Fluik, a Canadian developer that makes games like Office Jerk and Plumber Crack. “We’re trying to be proactive and we’ve already moved to an alternative scheme.” Rubba said he isn’t sending any updates until he sees how the situation shakes out in the next few days.
For those unaware, the UDID is an alphanumeric string that is unique to each Apple device. It’s currently used by mobile ad networks, game networks, analytics providers, developers and app testing systems, like TestFlight, for example.
Playhaven, which helps developers monetize more than 1,200 games across iOS and Android, said several of its customers had been rejected in the last week. The company’s chief executive Andy Yang says that developers should try and stay as flexible as possible by supporting multiple ID systems until there’s a clear replacement.
“This is definitely happening,” Yang said. “In the next month or two, this is going to have an impact on all ad networks and apps using advertising. Everybody’s trying to make their own choices about what to use instead.”
At least one of the apps that faced issues a week ago came from a publicly-traded, multibillion dollar company, I confirmed. But they declined to be named so as not to jeopardize their relationship with Apple.
So here’s what I’m hearing. Two of the 10 review teams started doing blanket rejections of apps that access UDIDs this week. Next week, that will rise to four the ten teams, and keep escalating until all 10 teams are turning down apps that are still using UDIDs.
This is a big deal because mobile ad networks use these ID numbers to make their advertising better targeted. Using UDIDs, mobile ad networks can track consumers from app to app to understand more about ads they respond to and apps they use most often.
“The UDID is essential for managing the conversion loop,” said Jim Payne, who runs a real-time bidding platform for mobile ads called MoPub and was early at leading mobile advertising network AdMob before it sold to Google for $750 million. “All the performance dollars that are spent on mobile are going to impacted by this not being there.”
At the same time, however, there are very real privacy risks tied to the widespread use of UDIDs. They’re more sensitive than cookies on the web because they can’t be cleared or deleted. And they’re tied to the most personal of devices — the phones we carry with us everywhere. Apple has been facing pressure from lawmakers in the last week about how apps can share consumer data without their knowledge. Two U.S. House representatives Henry Waxman and G. K. Butterfield sent letters to 34 iOS developers a few days ago asking about how they collect and use consumer data.
It’s still not obvious what developers will use instead. Some companies turned to the Wi-fi MAC Address, or media access control address, but it has a lot of the same privacy flaws that the UDID did. Another company Appsfire is behind an open-source solution called OpenUDID, that it hopes developers will adopt instead.
Yang and others are seeing a few developers get through approval process if they ask users for permissions first before storing their UDIDs. If so, this mirrors the approach that Facebook and Google Android take in making developers show a permissions dialog to consumers when they first install the app.
However, Yang’s not so sure that this is a good user experience or that enough consumers will say yes to make this strategy effective.
“I just don’t think the opt-in rate will be that high,” he said. “It feels like a Band-Aid solution for now.”

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The Rise Of The Explainer Video

flipboard video
Editor’s note: Rico Andrade a former executive producer at Transvideo Studios and Picturelab. Follow him on Twitter @andrade_rico.
Two years ago, Jason Kincaid wrote a short but influential post titled “The Underutilized Power Of The Video Demo To Explain What The Hell You Actually Do.” He said:
During my time at TechCrunch I’ve seen thousands of startups and written about hundreds of them. I sure as hell don’t know all the secrets to building a successful company, but there are a few things I’ve seen that seem like surefire ways to ever-so-slightly grease the road to success. Here’s an easy one: make a video demo and prominently promote it somewhere where new visitors can find it. One that shows off the core function of your product without making people think they’re watching an ad or a pitch. And answer, as thoroughly as possible in 2-3 minutes, what it is that you’re bringing to the table.
Jason was spot-on with his assessment. Today, a significant number of startup companies rely on a prominent overview video on their home page (you can browse through this compilation to get a sense of how many), and there is an overabundance of companies dedicated to serving the video needs of the tech community. Just look at how companies like Google and Facebook use overview videos as an integral part of their overall marketing strategy.
Many individual companies do A/B testing of these specific types of videos on their own home pages, but these numbers are not usually disclosed, and I have yet to see industry-wide studies looking at the effects of these specific videos.  However, the effectiveness of product videos in the ecommerce and retail space is well-documented, and the same factors that help these videos sell products seem to apply to promoting websites and apps as well. That was typically our experience at my former employer Transvideo Studios: of the companies that kept track and disclosed the data to us, videos usually improved conversion rates by 15%-75%.
Why Video?
Conversion rates don’t tell the whole story about overview videos.  Other reasons to include video are:
- Increase press coverage. In Jason’s own words:
Here’s a sad truth: a lot of reporters really are quite lazy. Not in the sense that they don’t want to find and cover a cool new company (in which case they should consider a new career path), but in that they don’t like to spend time wading through marketing material trying to figure out what your company actually does. After all, we’ve got inboxes stuffed with pitches from companies vying for coverage. If it takes more than a minute or two to figure out what problem you’re trying to solve, we’re probably more likely to simply skip to the next message than to try to make sense of your feature set.
Not only does it make it more likely you’ll get covered, but also that the coverage won’t simply be the author’s interpretation of your site, but will actually include your video – your own words – to supplement the story.
- Help your fans evangelize your product. Video is an extra standalone tool that can be easily shared on Facebook or Twitter. My favorite example of this is Visual.ly – Visual.ly had over 80,000 signups from a video on its LaunchRock page… months before the company actually went live.
- Improve the SEO of your site.
- Repurpose elsewhere.  Videos can be included in email signatures, start off VC pitches, shared by sales team, etc… well beyond your home page.
- Buy you time. While “nothing kills a bad product better than good marketing”, a video can give users an insight to your product that allows them to both use it more effectively, and understand your larger vision, so that if the product isn’t there yet, they know where it is going and don’t immediately turn you off.  I’m a firm believer that if Color had originally launched with a video that explained its vision a bit better, instead of the employee–made demo they launched with, users might have given them a bit of a chance to improve.
Tips on making videos.
If you are going to make a video, here a few basic rules to keep in mind:
Don’t make a “viral” video.  While there are extremely successful and truly viral videos out there people don’t usually realize the time, effort, and experience required to create something people actually want to share.  And even if they do, virality itself is unpredictable.  Most companies would be better off leveraging the existing organic traffic on their site and focus on turning those users into customers, rather than spending resources they may not have trying to designing to get a mass audience to post their videos on their Facebook page.
This doesn’t mean the video needs to be a PowerPoint pitch deck, or that it can’t be engaging, but that the top priority should be to explain how a product fits into a user’s life, and not shareability.Don’t just make a product walkthrough.  Product walkthroughs have their place, but they are only effective after the user understands what the product is about in the first place. Don’t just do a product demo, starting at the login screen, and walking through all the features.  Answer the question, “How does this product fit into my life?”, or “Why should I use this?”, before answering “How does this work?”.  You want to pique the user’s interest with the video, then let them figure how the product works on their own, by signing up and using it.
Having said that…Prioritize your message and keep it short.  It is tempting to want to present every use case, every benefit, to as many different audiences as possible, as you might in a pitch deck.  However, the sweet spot for these videos tend to be around 45-90 seconds.  Shorter than 45 seconds feels sales-y and incomplete, and viewers don’t hang around videos that are longer than 90 seconds, so putting too much in there hurts you.
That means that you should pick just a few messages to put in the video  Are you targeting your dream user, or are you catering to early adopters (i.e.: “Normals” vs “TechCrunch Readers”)?  Are you trying to differentiate yourselves from an established competitor?  Are you solving a problem that hasn’t been tackled, or is it a new solution to an old problem?  Is there information that all users must know about your product ahead of time to use it effectively?  These are the types of questions that help determine what goes into a final video.  Focus on the three most important things, and then let them move on from the video to your product.Include a call to action at the end.  Videos perform better if the user knows what to do after the video is done. And if you tell a user to download a product, make sure there is a prominent “Download” button next to the video at all times. (See: Flipboard).Prominently feature the video.  The video does little good if it is hidden behind a lot of links.  Put it on your home page, and place a large “play” button on a still of the video for maximum effectiveness. (See: Nextdoor).Quality matters.  While you may now be tempted to grab your camcorder and record a video of your product, the production quality does matter.  A concise script, good design, clear visuals, and good quality audio all make a difference in whether users watch the video, and how they react to it and to your product.  This is especially true if your product has privacy implications, or is business to business – an amateurish production may give the impression that the company is not reputable and is run from a college dorm room.
Remember – the goal is for the user to understand what it is your product does.  If you can show your video to a person in your target audience and they can tell you what your product is after watching your video, you’re probably in good shape.
The harder question to answer is, “How much should we spend on video?”, and that’s for another time.

Rico Andrade is the former Executive Producer at Transvideo Studios and of the founders of the company’s creative and design division, Picturelab. Picturelab specializes in providing high-quality video and animation for tech companies in Silicon Valley. Rico is a Computer Science and Communication major from Stanford, and a former member of the Stanford Men’s Gymnastics team. He is a two-voyage veteran of Semester at Sea, and a big fan of This American Life.
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Jobs’ Rejection Of TV Designs “Isn’t A Huge Deal” Says Former Apple Engineer

Kim-Mai Cutler is a technology journalist who has worked for Bloomberg, VentureBeat and The Wall Street Journal. Before she joined TechCrunch, she led mobile coverage at Inside Network, a six-person media startup that was acquired by WebMediaBrands in 2011 for $14 million in cash and stock. She specializes in covering gaming, distribution and monetization of mobile applications and venture... ? Learn More
keep-calm-and-carry-on
It’s a sin I know almost too well as a blogger. It’s slow going for news on a Friday night and the pageview gods send you a reprieve in the form of a tweet.
A former Apple engineer is berating the company’s design ethic in the post-Jobs era in less than 140 characters?
Score! Suddenly one story becomes another story then another story then another story then another story.
Until it’s a crisis! ZOMG! Apple is over! The company is finished!
Interested in the actual story, I talked with former Apple TV engineer Mike Margolis about the tweet that launched a thousand blog posts.
So here’s what he said on Twitter.
Here are his thoughts with far more context:
I woke up this morning with hundreds of new followers on Twitter and two dozen text messages from friends – many of them Apple employees past and present. Turns out a few of my tweets were being blogged about. I wouldn’t mind, except many people were misquoting and painting doom and gloom scenarios for Apple and making false claims about the design teams at Apple. I have not been present for any of the Apple TV product discussions for more than four years, so I’m a bit surprised that everyone is all atwitter about what SJ rejected so long ago and what that means today.
Specifically, I stated in a tweet that Steve did not like the grid design five years ago. That is absolutely 100% true. It’s also true that five years ago the iPad didn’t exist, Apple users weren’t in love with app-grid interfaces like they are now, a streaming-only iCloud connected device was a pipe dream, and AppleTV did not have great new third party content like YouTube, Netflix, Vimeo, NBA, NFL, and more. The UI didn’t make much sense back then but it makes much more sense now. If you compare Front Row to AppleTV 1.0,  ”AppleTV Take 2?, and the new AppleTV UI it is clear that the product is continually improving. The new UI is no doubt cleaner, simpler, easier to use, and more in line with the now-popular iPad UI and Lion’s Launchpad.
Timing and context are crucial – both on Twitter and in product design.
Steve rejecting a design five years ago isn’t a huge deal. Steve was well known for rejecting ideas, tweaking them, and turning them into something even better. And that’s a very good thing. One of my favorite parts of working at Apple was knowing that SJ said “no” to most everything initially, even if he later came to like it, advocate for it, and eventually proudly present it on stage. This helped the company stay focused and drove people to constantly improve, iterate, and turn the proverbial knob to 11 on everything.
A quick clarification: many sites are now worried that there is only a single designer in the consumer apps team. That is absolutely not true. I simply stated (in 140 characters) that one designer from the consumer apps team was largely responsible for the Apple TV visual design, not Jonathan Ive.
Margolis adds that he no longer owns any Apple stock and hasn’t been employed by the company since 2008.

IPO: March 25, 1980, NASDAQ:AAPL
Started by Steve Jobs, Steve Wozniak, and Ronald Wayne, Apple has expanded from computers to consumer electronics over the last 30 years, officially changing their name from Apple Computer, Inc. to Apple, Inc. in January 2007. Among the key offerings from Apple’s product line are: Pro line laptops (MacBook Pro) and desktops (Mac Pro), consumer line laptops (MacBook) and desktops (iMac), servers (Xserve), Apple TV, the Mac OS X and Mac OS X Server operating systems, the iPod (offered with...
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You Say “SoLoMo,” I Say, “I Hate My Life”

Anthony Ha is a writer at TechCrunch, where he covers media, advertising, and startups. Previously, he was a staff technology writer at Adweek, worked as a senior editor at the tech blog VentureBeat, and was also a reporter at the Hollister Free Lance, where he won awards from the California Newspaper Publishers Association for breaking news coverage and writing.... ? Learn More
psycho
Working in tech does weird things to your vocabulary. Five years ago, if you’d told me that I’d become someone who talks about whether they have the “bandwidth” to get something done or promising to “ping” you later, I would have laughed in your face. Yet here I am, finding the bandwidth to ping people — like it or not, you adopt the language of the people around you.
Still, you’ve got to draw the line somewhere. And for me, the phrase SoLoMo (short for social-local-mobile, if you’re lucky enough to have never heard it) crosses that line and outrages all decency and common sense.
When it first popped up, I assumed it was the latest feeble attempt to make “Socio Loco” take off and would die in a few weeks. But no, it seems to be catching on, and it’s even crept into a couple of TechCrunch headlines.
Why do I hate it so much? For one thing, it just sounds so ridiculous. “Soe-low-moe.” Wait, what? I’m convinced that the only way to say “SoLoMo” with a straight face is to literally stop thinking about the syllables coming out of your mouth or keyboard. Or perhaps you’ve heard it so often that you’ve become desensitized, which is basically the same thing.
I was also going to argue that it doesn’t mean anything, but that’s not entirely true. For example, blogger and analyst Greg Sterling defined it for Mashable as a more “mobile-centric” version of hyperlocal search, with “greater local precision”: “It’s about getting nearby information on demand, wherever you may be.” A little vague, but okay, it’s a definition.
What I object to, really, is the way everyone is seizing on the term as a way to automatically hype up an app as innovative and exciting, in the same way that “cloud” was slapped on everything a couple of years ago. Are you about to release the millionth local deals app? Call it SoLoMo! What about a reviews app? Do the same! An app that lets you find which of your friends are friending the friends of friends around you? Come on baby, do the SoLoMotion!!!
And I’m worried about what could happen if the reign of SoLoMo continues. In a few months, new startups will feel obligated to describe themselves this way, no matter what they actually do. “Oh, you’ve got a mobile social app? That’s so lame, bro. Don’t you know SoLoMo is where it’s at?”
Welcome to the brave new world of buzzword inflation.

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One Screen To Rule Them All

lotr
Editor’s note: Jay Fulcher is CEO of video technology company Ooyala. He previously contributed a column about “Fear And Loathing In Online Video.” Follow him on Twitter @jbfulcher.
While hosting this year’s Academy Awards, Billy Crystal cracked, “I prefer the big screen… which is my iPad.” The remark was an ironic counterpoint to the evening’s theme, “Let’s go to the movies,” itself a half-hearted attempt to resuscitate flagging U.S. box office sales. On the heels of a year that saw the lowest movie theater attendance in almost two decades, it’s clear that the silver screen feels threatened by younger, slimmer screens.
Apple’s new iPad is shattering sales records and quickly ushering in the post-PC era. The company sold three million tablets in the first weekend they went on sale and may sell as many as 66 million by year’s end. Like the iPhone and iPod before it, the iPad is reinventing an entire technology category and bringing it to the masses.
It’s not surprising that more people are watching more shows and movies on their tablets than ever before. The iPad’s slim form factor and large, HD screen make the device perfect for kicking back with the latest episode of “Sharktank.” At Ooyala, we’ve seen this new way of watching online video emerge and evolve over the past 18 months. Our data suggests that explosive tablet sales (fueled largely by Apple’s iPad) will increase the share of tablet video viewing by over 500% in the next year alone.
Our data also suggests that people are watching more shows, movies and other videos on their iPads during primetime TV hours: a third of daily video plays occur between 7PM and 11PM – hours that could otherwise be spent in front of cable TV or out at the local movie theater. In fact, Americans are now watching more online movies than DVD content. The key takeaway here is clear:  Networks, studios and other providers of professional TV and film content need to pay attention to this new screen.

Luckily, the rise of tablet video presents significant new opportunities for viewers and publishers. Tablets are personal devices — there’s a one-to-one relationship between the screen and viewer. Content owners and advertisers equipped with the right tools can now make better connections with individual viewers than ever before. As a result, there exist new opportunities to engage viewers by delivering not only personalized video content but meaningful advertising less likely to disengage the audience.
Personalizing a Netflix account that is shared by a family of four and lives on a big-screen TV is tricky. Personalizing content for a tablet owned by a single person is far more impactful. While smartphones also have a more intimate connection with their owners, added screen real estate makes tablets a strong candidate to lead the way in new TV technology and consumption.
Here are just a few examples of how tablets are changing the face of traditional television.
Tablet TV Apps — The Team Coco Tablet App delivers second screen content in real time and offers an “all access” look behind the scenes of the Conan O’Brien show. The Turner App delivers exclusive content to engage fans of the show and encourage appointment viewing.
Tablet TV is Social TV — The rise of social television has had a huge impact on linear broadcasting. While there are plenty of people liking and tweeting from their phone or laptop, tablets will continue to impact trending topics and industry buzz in the coming years. Social TV app GetGlue also functions as a content discovery engine. When media companies leverage the social graph, they increase organic discovery on leading social networks and gain valuable insights into the habits and tastes of their most loyal viewers.
Tablets as Second-Screen Guides — Just as tablets made television content portable and personal, they are also redefining how people discover content. Netflix recently refreshed its iPad app in an effort to make it easier for people to find content. There are a number of established and emerging companies working to resolve the paradox of choice that online video is creating. When nearly everything is available online, how will we decide what to watch? Expect the winners here to offer a visually pleasing, easy to use, data-driven discovery engine.
Tablets as Universal Remotes — Tablets have even revolutionized remotes. Apple offers a free remote app for the iPad that lets users control the action from their tablet. Newer companies like Dijit are combining universal remote tablet technology with social content recommendation to deliver a more personalized viewing experience.
Tablets are bringing about a big shift in personal computing and creating unique opportunities for media companies to connect with their viewers. Those that profit will leverage video analytics and advanced content recommendation algorithms to deliver personalized viewing experiences across all connected devices.
The stakes need not be overstated: By 2015, 100 million Americans will regularly watch premium content on connected devices. While it is true that delivering broadcast-quality tablet video is only a single piece of a larger streaming media puzzle, developing an effective tablet strategy is crucial for content creators and broadcasters as we shift from broadcast to broadband video. The promise of online video lies in its ability to connect viewers with relevant content in ways traditional broadcasting never could. Tablets may not be the biggest screens, but they’ve brought about big innovations in TV tech.

Jay Fulcher became CEO of Ooyala in August 2009. Ooyala has been one of the fastest growing companies in online video technology and has more than 500 customers worldwide. Prior to Ooyala Fulcher was CEO & President of Agile Software, a publicly traded enterprise software company which was acquired by Oracle in 2007. During his tenure, Agile became the fastest growing PLM company in the industry, establishing itself as a market leader with over 11,000 customers and a tremendous...
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Ooyala is a leader in online video management, publishing, analytics and monetization. Its integrated suite of technologies and services give content owners the power to expand audiences, and deep insights that drive increased revenue from video. Ooyala serves hundreds of global media companies and consumer brands including Dell, ESPN, Fremantle Media, News International, Sephora, Telegraph Media Group, Vans, Whole Foods and Yahoo! Japan. Ooyala was founded in Mountain View, California in 2007 by Bismarck Lepe, Sean Knapp, and Belsasar...
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“Screenshots Of Despair” Reveals The New Human Condition

Alexia Tsotsis works for TechCrunch as a writer. She attended the University of Southern California in Los Angeles, CA, majoring in Writing and Art, and moved to New York City shortly after graduation to work in the Media industry. After four years of living in New York and attending courses at New York University, she returned to Los Angeles... ? Learn More
Screen Shot 2012-03-24 at 4.12.52 PM
More and more of us are spending more and more of our time staring at screens; And it’s amazing how emotional we’ve started to get about pixels.
I’m pretty sure the last thing I see before I die will be one of those blasted spinning rainbow cursor balls. And I’m not alone (good call on the Morrissey, guys).
The latest paean to the increasing power of online graphics, text and symbols is the fascinating Tumblr “Screenshots of Despair,” a site which catalogues and re-contextualizes the sometimes inadvertently depressing images we see online, along the lines of “No one likes this” or “Are you still there?”
Inspired by New York Times columnist Rob Walker’s “Gallery of Anonymous Internet Avatars”, Screenshots of Despair creator Josh Kimball views the project as an attempt to capture the current state of the human condition, “I think the screenshots inspire pangs of real isolation. To me, the best of these screenshots are supposed to be practical social media interface elements, but they read as inadvertent commentary on one’s entire existence.”
Kimball, who is an executive editor at a trends research firm, thinks the site has caught on because it exemplifies dark nerd humor and creates broader commentary on the meaning of digital connectivity. “Everyone has felt these pangs before,” he says.
YOU HAVE NO FRIENDS.
^ See it sort of hurts, don’t it? So chew on that the next time you’re designing one of these screens … And maybe try to phrase things a bit more empathetically?


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