Pour son second album IRM, Charlotte Gainsbourg a demandé à l’incroyable, mais malheureusement scientologue, Beck de lui écrire un album. Le résultat sera audible le 7 décembre prochain.
En attendant, la fille de et de nous fait patienter avec un titre éponyme à l’opus, téléchargeable gratuitement sur son site officiel (ici) ou avec le clip génial de son single  Heaven Can Wait signé par l’excellent Keith Schofield. Réalisateur américain, il a fait ses preuves avec une publicité détournée pour Diesel où des scènes de pornos sont maquillées par des dessins animés où les protagonistes font de la musique au lieu de leur activité habituelle (Ici). Il a aussi fait le clip Ladyhawke pour CSS ou Bad Blood pour Supergrass. Après s’être entourée par le gratin pop pour son premier opus 5:55 (les versaillais de Air, Jarvis Cocker de Pulp et Neil Hannon de The Divine Comedy), elle fait appel à Beck connu pour ses bidouillages car suite à ses problèmes médicaux en septembre 2007, Charlotte Gainsbourg garde les sonorités de machines respiratoires, des scanners et compagnie en tête et veut les utiliser pour sa musique. Dix huit mois de travail pour la composition de l’album, IRM semble être éclectique, pensé et très travaillé. Des suppositions qui pourront être vérifiées le 7 décembre 2009 pour la sortie de l’album (le même jour que la sortie de l’EP Hotel Utah de The Rodeo).

Le clip fonctionne sur des scènes du quotidien où Charlotte Gainsbourg cohabite avec des mutants, des robots ou des êtres étranges. Une photo magnifique, une mise en scène exquise, un clip à découvrir de toute urgence. En décembre en attendant la suite (une impression de “déjà-vu” non ?)

Retrouvez ci-dessous les 32ème épisode de Fullmetal Alchemist: Brotherhood.

Sources : Dybex@Dailymotion – Random Curiosity

Je souhaites vous partager ici ce qui selon moi devrait être l’ordre de priorités marketing de toutes entreprises en 2009 (depuis 2005 au moins, mais assurons nous que c’est le cas dès 2010!).

En assistant et participant à multiples conférences cet automne, en lisant régulièrement plus de 30 newsletter, en répondant à des questions sur LinkedIn et en suivant plus de 135 personnes et organisations sur Twitter, il me devient apparent que de plus en plus de gens on pris le virage Interactif / numérique / social. Mais il m’est tout aussi claire que c’est loin d’être le cas de tous le monde…

Voici donc ce que je crois être l’ordre prioritaire d’efforts marketing / publicitaires. SVP ne vous gênez pas de me donner votre avis, vos commentaires pour que ceci s’améliore et accepté par tous. Vous trouverez aussi des liens vers des billets passé qui élaborent sur divers points.

1. Plan  =  Dresser son plan – établir ses objectifs, définir ce qu’on a à dire et à qui.
2. Site Web  =  Bâtir sa présence web permanent
   1. présentez-vous, présentez vos produits / service, rendez la vie facile à vos visiteurs – comment communiquer avec vous, où vous trouver.
   2. identifier un calendrier “éditorial” : qu’allons-nous publier sur notre site somme mise à jour, quand, pourquoi = soyons prévoyant et prêt.
   3. optimisez le pour les moteurs de recherche
   4. Blogue  =  Intégrer un blogue sur son site = partager son opinion, démonter l’ouverture, la communication et l’interaction avec les visiteurs.
   5. Bulletin courriel (marketing direct, relations publiques)  =  en suivant notre calendrier, l’utiliser pour communiquer ce qui se passe sur le site, les spéciaux, les contenus, mise à jour du blogue… multiple liens vers notre site
   6. Mesurez et suivez la performance de votre site, de vos efforts, votre infolettre, améliorez-vous et recommencez.
3. Réseaux sociaux  =  s’intégrer corporativement sur les divers engins pour établir une présence – servez vous en pour diffuser vos contenus et teaser vos offres (bouche à oreille):
   • Facebook, MySpace, FriendFeed pour les groupes et fan pages, événements, annonces, mises à jour de votre blogue et site
   • YouTube, Vimeo et DailyMotion pour les vidéos (spots télés, matériel promotionnel, de formation, éducatif, événementiel…)
   • SlideShare, Scribd pour les présentations, documents etc…
   • LinkedIn pour les employés – communiquez ce qui se passe dans l’entreprise – répondez aux questions pertinentes à votre industrie
   • Google, Yahoo et autres environnement pour reprendre et rediffusez ce que vous faites sur les autres environnement
   • autres – sondez vos clients : quels sont les outils qu’ils se servent, quand, comment et pourquoi
   • tenez compte des dures réalités dans ces environnements.
   • gardez l’oeil sur les tendances (2) et l’évolution des réseaux sociaux pour vous y adapter
   • Mesurez et suivez la performance de vos efforts sur les réseaux sociaux, améliorez-vous et recommencez.
4. SEM  =  achetez les mots/phrases clés pertinentes à la vente de vos produits et services – dépensez autant que vous pouvez ici, chaque clic est quelqu’un de réellement intéressé à vous acheter! Faites attention aux pièges.
5. Publicité  = annoncez-vous (notoriété en premier lieu) là où se retrouve votre cible. Devinez pas. Demandez lui – sur votre sites, sur vos réseaux sociaux, faites un sondage, quels médias utilisent-ils, sont-ils beaucoup en auto ou sur l’ordi? Quelles émissions, radio, magazine, journal, site web préfèrent-ils?  Placez en fonction de leur temps consacré à chaque média, en fonction de leur engagement / attention avec chaque média. Ils sont tous bon.
   • Notoriété et les éléments marketing (appréciation, compréhension, association, attributs, intention d’achat…)  avec la publicité vous exposerez votre marque auprès de gens comme vos clients – attirez les dans votre communauté (soit votre site, newsletter ou réseaux sociaux) – accrochez les pour pouvoir leur communiquer directement par la suite.  C’est avec la publicité que vous vous créerez des nouveaux fans.
   • Réaction instantané en 2e lieu, car ceci implique que vous parlez à des gens qui soit vous connaissent, ou ont besoin de faire un achat et votre offre tombe bien. Votre communauté (soit votre site, newsletter ou réseaux sociaux) servira plus efficacement, tout comme le SEM à communiquer vos offres spéciaux.
6. Recherche : étudiez l’impact de vos campagnes publicitaires, distinguer leur impact de celle obtenu par les réseaux sociaux, votre site web et votre infolettre. Attribuez un cote ROI pour chaque tactique incluant le SEM – mais tenez compte que tous vos actions auront un impact sur la performance de votre SEM.
7. Ajustez le tire et recommencez.

Voilà. On part d’un investissement dans une fondation, à des efforts qui demande du temps (beaucoup de temps) mais qui coûtent peu, à des efforts qui requiert des budgets (faciles à justifier pour le SEM, moins évident pour la publicité).

SVP, faites-moi part de vos commentaires, changeriez vous l’ordre de priorité. Ais-je oublié quelque chose d’important?

Good morning.  Epix is about to take the stage at this the last day of Streaming Media West.  Watch the keynote live at:  www.livestream.com/streamingmedialive/beta. Presentations this weekend at streamingmedia.com/west.  We’ll be posting the remarks here along with a summary of what was said this week by other content distributors and producers:

Emil Rensing, Epix
Epix is a joint venture of Paramount/Lionsgate/MGM that launched three week ago as a FiOS Pay TV cable channel that for $10/month makes its content available to subscribers on any platform :  on TV, on demand, and online.  Epix owns the multiplatform rights for all their titles in the PayTV window of 9-10 months after theatrical release for at least 2y and doesn’t have restrictions on their content like legacy cable providers who signed deals 10 years ago and now have to renegotiate rights for TV Everywhere.   Currently offering 180 first run blockbuster movies and classics, Epix seeks to grow it’s library to 3,000 titles as well as offer outstanding original and event-based programming similar to the HBO, Starz, Showtime model.  Programming like Madonna and Kings of Leon concerts, Sam Shepard’s  Tough Trade and Charlize Theron’s Atlas Shrugged.  Seeking to become home to original storytellers….original programming builds brand for the network.  In terms of the size of the Epix acquisition budget, having just launched they are small now 62 staff, a third focused on digital, wondering whether sponsored star-studded sitcoms like Easy to Assemble and Justine Bateman’s FM78.tv then become an attractive option. Emil Rensing, founder of Next New Networks, shares space with Boxee in New York, is a digital guy agnostic about formats, hoping to see Epix on that toaster we’ve been talking about.  A media business, Epix is proud of its technology partners who provide a seamless playback experience: Akamai, Adobe, ClipSync. Amazing friending feature allows you to invite up to four friends to sit in a virtual screening room, watch the movie together, and chat via pop up speech bubbles.  The friends do not need to be an Epix subscriber. You can check out Epix this weekend.  Three day passes are available at www.epixhd.com/invite.   Watch Iron Man, Cloverfield, Curious Case of Benjamin Button, all four Indie Jones movies, even Scorsese’s Mick Jagger doc, Shine a Light.  Epix will be the first to run the Star Trek movie in the new year, so stay tuned.
(per SMW remarks)

Anthony Soohoo, CBS
CBS distribution strategy online, on mobile, in the connected home has been open, non-exclusive hyperdistribution to AOL, Yahoo!, Google, MSN. CBS.com watch full shows. TV.com nexgen navigation with integrated TiVo functionality and online personalized guide watchlists for the 20mm users of TV.com (2mm iPhone app downloads).  TV shows now, movies in the pipeline.  CBS Web Originals believes there are different ways to tell stories in terms of byte size text format, take about 3-4 different shows on a quarterly basis, on a project finance basis, find a sponsor working with the creators, then distribute across CBS properties and CBS Audience Network, bring expertise on sales side, largest video sales force out there, CBS Interactive is the 4th largest video player in the world, reach on a monthly basis 120mm.  Offer content creators sales and distribution piece mixed up with the TheInsider.com, TV.com, Chow.com, CBS.com.  300 syndicated partners.  A combination of having limited resources and it being early stage for the connected devices, focusing more on mobile right now.  TV Everywhere great for consumer, but only 52% of broadcast nets making content available, 10% cable nets, no economic model/measurement.
(per Commonwealth Club SmarterTV remarks)

Tom Gorke, MTV
Tasked with monetizing content off owned and operated 300 websites worldwide, goal is multiplatform, to stay close to consumer, drive awareness and traffic.  MTV is the largest provider of content to Xbox and iTunes.  The biggest driver of paid download to own is the need for portability, take it with you on the flight.  The need to aggregate a library of content has matured.  Done well on Hulu, Fancast, Atom, GameTrailers, DailyMotion, Veoh.  MTV is all about automation, too much content, it wouldn’t scale if had to customize, even putting a flag in a feed is tough.  Have close relationship with syndication partners, provide exclusive one off promotional content, lots of assets, art work, graphics.  Syndication partners care most about reliability and regularity of delivery, and standards of quality of content.  FB pulls a lot of content from MTV.  Really saw the power of Twitter during the VMAs with Kanye West.  MTV integrates Twitter into sites, audience of engaged folks.  Leading provider of mobile content, sold over 1mm of the 16 iPhone apps, VCast.  Live streaming tentpoles like Kids Choice Awards, VMAs. Live streaming is completely different technology (Ustream, Justin.TV, Kyte, Livestream).  When Ashton Kutcher did his Fantasy Football Show on Ustream viewership went from 100,000 to 1mm viewers, it had a watercoolers effect and was played everywhere all at once.  For the experiment, bought ad unit and inserted Ustream player – was expensive.
(per SMW remarks)

Vanessa Pappas, Next New Networks
500mm streams online in 3 years, 30mm views/month, believe in super-syndication concept, be where the audience is.  Yahoo! has been great for family entertainment, long form does well on iTunes.  TubeMogul is integrated in content management system but do a manual refresh to optimize sites that perform for you.  Recently hired category manager from YouTube.  Know your syndicated partner’s audience.  On Twitter you can’t just post and pray, need to have dialogue with engaged community.  Share office with Boxee, getting on Boxee, Roku..
(per SMW remarks)

Brett Wislon, TubeMogul
Free supersyndication service to Blip.tv, Break, Brightcove, DailyMotion, eBaum’s World, Facebook, Graspr, Grind TV, Howcast, i2TV, Imeem, Metacafe, MSN Video, Myspace, Revver, Sclipo, Sevenload, Streetfire, Twitter, StupidVideos, Veoh, VideoJug, Y! Video, YouTube, Viddler, Vimeo, 5min, Zoopy.  Best campaigns are hybrid like the recent intentionally lame Windows 7 videos.  Got 5.5mm views in September, impressive for a brand.  http://www.engadget.com/2009/09/24/video-windows-7-launch-party-parody-is-bleeping-genius/3.  Most have given up on trying to make money in online video.  Although YouTube is 50% of the game, study found that those that also syndicated to niche sites saw a 100x increase in viewership than those just on YouTube.  Greater success with vertical focus.  Analytics allow you to see where video is most embedded, can see if a specific mommy blog is an important outlet and starting feeding them exclusive content which they love because content drives traffic.  Moving from super-syndication (content everywhere blast) to hyper-syndication (content to engaged fans fast).  FB has no video strategy but is a top ten video site.  Study found most engaged viewers came from Twitter.
(per SMW remarks)

Brandon White, FUNimation
License anime content, aim to meet the needs of the licensors in Japan.  Syndicated via ad-supported video, iTunes, Xbox/Zune, PS3.  Use YouTube for fingerprinting.  Plan to syndicated across all CE devices – mobile, Blu-ray, web-enabled tvs.
(per SMW remarks)

Jim Louderback, Revision 3
Syndicates 20 shows including Diggnation broadly anywhere, anytime, any device, want to be where our audience millennial men live.  Auto-syndicates with Tubemogul but still need to manually refresh metadata at each site.
(per SMW remarks)

Dominik Rausch, Eleven Minutes Production, Easy To Assemble
EasytoAssembleSeries.com is a sponsored star-studded sitcom that has garnered 4.2mm+ views between its Season I & II on MyDamnChannel, YouTube, Ikeafans.com, KoldKastTV, Hulu.  Also distributed on iTunes.  In talks with DVD sales, releasing on hotel networks, subtitles for 10-15 additional countries in Europe & Asia.  Innovative series where in addition to celebrities like Illeana Douglas, Justine Bateman, Tom Arnold…IKEA is a co-star.  Web series same premium quality as film, all 10 episodes of second season strings together as a movie.  Production company is thinking of new ways to make content adapting to fragmented time-shifting society.  As traditional TV distribution disappears, new media will take over distribution for all platforms.
(per Commonwealth Club SmarterTV remarks)

Brent Friedman, Electric Farm
Production budget for Crackle’s Woke Up Dead is over $1mm, high for a web production but has talent attached which attracted integrated sponsors like Kodak.   (Premise of show is friend trying to monetize fact that friend is a living zombie, sub-plot pitching to brands for sponsorship).  Sometimes you have to take a risk to get a bigger payoff just like more marketing dollars equals more views.  Kodak also cross-promoted on their own site which over a million monthly uniques.  Valemont is a success with an engaged community of 25,000.
(per SMW remarks)

Thom Woodley, Dinosuar Diorama
All-For-Nots co-produced with Eisner’s Vuguru.  Doesn’t like sponsor integration, hurts show creatively, prefer ad-insertion, and smaller more engaged audiences of 50-100,000, hasn’t quit his day job as ad agency exec yet. Show All’s Faire about the Renaissance Faire reaches 20,000 Renaissance Faire fans plus sci fi, comics and comedy buffs.
(per SMW remarks)

Thanks Luca

Fonte:Gonzague

Beyaz Show ‘da bu hafta yayınlanan bölümde Beyaz Mutaf’ın Ayşe şarkısını farklı bir şekilde seslendirmiş. Beyaz’ında ne kadar eğlendiği belli olan bu video’ya bayılacaksınız.  Sözleri Ayşe tek kontör var olarak değiştiren beyaz yine çok eğlendirecek..

Kaynak : Ayşe Tek Kontör Var

Retrouvez ci-dessous les 31ème épisode de Fullmetal Alchemist: Brotherhood.

Sources : Dybex@Dailymotion – Random Curiosity

Retrouvez ci-dessous les 30ème épisode de Fullmetal Alchemist: Brotherhood.

Sources : Dybex@Dailymotion – Random Curiosity

Voici  que fRANCE 4  vient de faire un documentaire sur 2012… intitulé  21 décembre 2012 la conspiration de l’apocalypse

Je vous invite donc à visionner cette émission tévé. Ce sera un beau petit résumé de tout ce que l’on trouve sur le net… d’ou le titre du billet…

Restez perspicaces, a vous de juger!

Voila! bon visionnage!

Fonte:symbianfrance

Retrouvez ci-dessous les 29ème épisode de Fullmetal Alchemist: Brotherhood.

Sources : Dybex@Dailymotion – Random Curiosity

Bugün dailymotion’ a girdiğimde gerçekten çok büyük bir jestle karşılaştım. 29 Ekim’ e özel tasarlanmış sağ ve sol bloklar Türk bayrağı fonuyla süslenmiş.

Sol blokta “Türk Vatanı Bölünmez Bir Bütündür Parçalanamaz” Sağ blokta ise “29 Ekim Cumhuriyet Bayramı Kutlu Olsun” ibarelerine yer verilmiş.

Ülkenin buğün içinde bulunduğu olayları göz önene alırsak, Tokat gibi bir gönderme yapmış dailymotion! Türk takipçiler olarak dailymotion Türkiye’ yi tebrik ediyoruz…

devamı->

Digital Media Wire was in town today at the swanky Hotel Kabuki delivering its intimate brand of confab, where content and technology is shaken not stirred, and thought leaders hunker down to vision the future of digital media.  Del Daix of the Examiner.com and Julie Robin Blaustein of Bub.blicio.us were there blogging as well.  Here is Julie’s post, and Del’s video, and here is our summary:

Jay Adelson, Digg/Revision3, @jayadelson
Recently moved from Upstate NY to Marin, tweeps helped find transport at www.shipyourreptiles.com for family gecko not allowed on plane.  Picked SF because @kevinrose was single and easy, would have worked anywhere except LA which is way too Hollywood.  Digg has two gs because Disney owned dig.com, half-joked about how catchy a one consonant, one vowel, two consonant word is like Buzz.  Digg was first coded by someone at elance who they later hired.  Love angels Marc Andreeson, Ron Conway, Reed Hoffman, for VCs looked more at who would be a great partner (Greylock, Highland Capital) than who had big pedigree (KPCB, Sequoia).  Chapter in Sarah Lacy’s (@sarahcuda) Once Lucky, Twice Good book. Pay wall will be print’s doom.  Impressed with CNN.com, likes the way Paranormal leveraged social media.  Digg is a discovery mechanism, a news aggregator catering to niche interests, lies somewhere between the Twitter firehose of unvetted breaking news and five guys in a room vetting stories based on yesterday’s news.  Google is for search, social media is for filtering.  10% of Digg users power relevance for the other 90%.  Digg’s content ads appear in-stream, pricing based on popularity, if its gets digged, price goes down, high CTRs of 2-3%, if buried priced goes up, bad content ads gets priced out, fewer buries than diggs.  (Similar to StumbleUpon’s offering)  Watch for platform redesign from uberdigg one-size-fits-all to microdiggs focus on verticals. Digg is hiring and dog-friendly!

Curt Marvis, Lionsgate
Lionsgate has direct deals with XBox, PS3, ZillionTV and is on Boxee, TiVo and Roku via CinemaNow, awaiting more information on Yahoo! Connected TV (SDK out 1Q10).  Founded CinemaNow 6/99, 9 years too early.  Heads up Lionsgate VOD, traditional (broadcast, satellite), EST digital, Xbox, liaison to FearNet, Epix (Lionsgate/Paramount/MGM venture debutting on FiOS this Friday), Break.com.  Works on new revenue models, webisodes, mobisodes, iPhone games.  There is a big difference in philosophy between Silicon Valley and Hollywood.  The technology business is based on versioning, programmers are never finished they just tweak it in the next version.  In the content business you just don’t see Mad Man 1.0, 1.2, they wait til its perfect to release.  This difference in mindset puts Hollywood at odds with Silicon Valley and worked against the early entrants of Paramount and Universal into digital, they saw it sucked and backed off paving the way for Broadcast.com, Real Networks.. In some ways CD-ROMs were the warm up act to the internet.   In 2010, two of the most disruptive businesses in Hollywood are not even digital: Netflix delivers physical DVDs via the US Postal Service and Redbox via grocery store kiosks.  Digital is only 4% of the studios revenue.  Won’t hit $1B this year.  Yet VG is huge.  Reason why Lionsgate is moving into gaming.  DECE, the digital entertainment content ecosystem, formerly the open market initiative, is a group of 50 companies working to create interoperability between devices…DVDs were released after 10 years of working on standardization..but standardization and interoperability are key to creating a broad base around digital distribution.  Keychest, TV Everywhere moving in that direction…playshifting…pay once, use anywhere.  Windows will start closing.

John Welch, Making Fun
Problem with Redbox is that right now it is not capturing the customer relationship like Netflix, will make it harder to transition to digital.  Studios spend lots of money to stop piracy, pointless.  Can’t stop piracy in a linear model.  FB has made a lot of money giving game developers a platform to make money off of VG, the developers in turn buy ads on FB to drive traffic to their games.  Free is the ultimate low, as far as I know, we’re not paying users yet, can’t teach users to pay for something new, must emerge them deeply first, free is a big funnel, tease them through the compulsion loop, play faster, want to do next thing now, embrace free, find a way.

Jon Potter, Digital Media Association
Ambassador organization for the digital media industry: webcasters, tech co, online music and video retailers, Board comprised of Apple, Best Buy/Napster, Live 365, Pandora, RealNetworks.  Sponsor of the Digital Media Conference, Billboard Film & TV Music, CTIA, MUSEXPO, Streaming Media, SFMT, MEFCON, NARM, World Copyright Summit, NXNE, ACL, Digital Music Forum, Billboard Mobile Entertainment Live, Entertainment Merchant’s Association…  Studios are not willing to experiment with business model, they wait til it’s perfect, why mess with their cash cow.  Studios would like to leapfrog MSO to go direct to customer.  Maybe that’s what Keychest is all about.

Mike Vorhaus, Magid Advisors
Hulu is DVR without skipping.  19% of US households use Netflix.  58% of 18-54y believe piracy is ok – need to make content a service, like gaming is become a service.

Scott Brown, Cisco Media Solutions Group
No longer a debate whether content or platform is king, the customer is king.  Thee is no single magic bullet, must embrace multiple revenue streams – ad, subscription, premium, upgrades..  Here is Scott’s blog post:  blogs.cisco.com

Daren Tsui, MSpot
Started 5 years ago, added video 3 years ago, now has 40mm users.

Ted Cohen, TAG Strategic
If featured in an Apple commercial, that’s your campaign.  Too many low priced crapplications crowding the market.

Kate Connally, AddictingGames, @kateconnally
Each generation has something that is there own, the phone is the under 20y screen, my job is to make sure that generation is entertained.  We have the best free flash games on the web, we’re the online equivalent of the teenage movie.  We’re not in this to prove something, we’re in this to make money.  Incorporating music into causal game play is one of the most exciting things happening.  Apple’s move to allow in-app transactions for free games is big.  Will be interesting to see how this new engagement will be factored in to Apple’s deck.  Every game distributed on iNetwork has cross-promotion for 5 other games. (Co-publishers can upload here) Also to ensure success work closely with Apple to identify type of apps they’re looking for.  Brands can use gadgets to weave deeply into lives of fans.  AG is a strong brand in english-speaking countries particularly the US (home page has 27mm monthly uniques), haven’t made push into Asia yet.

Allen Duan, MTV Networks
MTV is working with RealNetworks on games and apps.  It’s an iterative process, ok to make mistakes.  iTunes app store provides a great feedback loop, comments told us that South Park’s Mega-Millionaire, where the boys try to win one million yen, was missing a voice over element that was important to audience.  Now have a Colbert app with segments of The Word, has charted in the Top Ten.  China has the largest flash mobile phone user base.  Own WW rights to SpongeBob, work with local team that understands the market.

Madeline Herdrich, Paramount Pictures Digital
Apps are great for theatrical marketing.  Paramount is about to release a Star Trek Captain’s Log app where trekkies can interact on a daily basis, record voice, picture, travels, will interact with Star Trek MMO.  (Many in the audience were very excited) Recently did deal with MSpot to provide movies on Sprint, Samsung’s large screen device – doing very well.  Also make clips available to send as greeting cards.  Working on original content for web and mobile.  The economy slowed development down a bit but good days ahead.  Phones with TV out will allow you to watch movies on phone on a TV set.  As a member of DECE, Paramount backs the buy once, play anywhere business model.

Rani Cohen, TuneWiki
Picture Pandora with lyrics… Music has a $.99 problem, once the track is bought, what is the upsell.  TuneWiki uses the track as a platform and sells game and lyrics products on top.  With TuneWiki you can buy a karaoke track with the real band playing, not the copy band.  Insisted on worldwide publishing rights for the lyrics so can sell in China and Japan where TuneWiki is expected to be huge.

Jason Davis, Disney.com
Game-changers on the horizon – 1.  WiMax ubiquitous connection – providing a constant broadband connection everywhere and anywhere, 2.  computing power plateaus (netbook trend) rethinking production of content, what makes sense for that platform, what’s good enough to bring costs in line with economics without compromising experience, 3.  all consumer devices become network aware and PC disappears.  2y old son not talking yet but knows iTunes icon, how to launch it and can start and pause his favorite videos.  He’s part of a generation growing up digital.  Key media and digital trends over past 10 years:  entertainment on demand(dvr, streaming, download), broadband, mobile, games, social media, UGC.  For the younger kids the connected space is games, for the older kids it’s more about video and music sharing.  Most don’t use cell phones to make calls.  It’s about texting, photos, games, videos, music, web. Disney.com #1 mobile site in US – majority access site via iPod Touch.  Disney is about family and kids, we care about rich unique content that doesn’t push boundaries but provides a safe fun experience that’s age-appropriate, we are a content provider in a connected world across all devices from those in your palm to those in the kitchen,car and beyond.  Disney formula – (Content + Audience)/Digital Connection.  Competition years ago was Barbie, Sesame Street, Hot Wheels, Yahtzee, Monopoly, Nick, Zelda, TV, phone… now it’s YouTube, Xbox, FreeRealms, Clone Wars, JustJaredJr, Mattel, Babycenter, Twitter.  Nintendo once a competitor is now a partner – supermonetize Club Penguin on DS tie back to site, one of the top selling DS games.   Disney.com is not just a website, but an online destination, an online theme park, an entertainment experience.  Watch for Muppets holiday themed content, mom page for family travel, possibility shop, create paintings, comic books, mashups, animate…  In first 5 weeks, 175,000 pieces of artwork were uploaded to site.  Safe UGC for kids.  Now Disney.com is an iPhone app with snap a photo fun…  For the non-family fans of the Disney brand, there is @Disney023 geared toward the brand Disney, formed in 1923, this summer first D23 trekkie-like convention big hit.  FB Alice in Wonderland for Tim Burton, Johnny Depp fanboys, 50,000 fans signed on at Comic-Con competition continuing to feed fandom for IP.

Craig Newmark, Craigslist, @craignewmark
Now a Chronicle columnist, committed to customer service only as long as I live, believe you take care of your customers and you’ll succeed.  We rely on professional curators to some degree, but mostly we rely on people we trust.  Trust is the new black.  Reads Tim Goodman for TV to watch.  Like HuffPo.  Invests time in Wikipedia because it’s for the ages, where we’re putting our history now.  Agrees with Tech Crunch:  transparency is the new objectivity.  TechCrunch has an honest bias.  John Stewart gives no pretense of objectivity.  Would pay to block ads on Hulu, content creators and curators need to get paid, next year will see a change.Is there a place for record labels now?   The absurdity of CNN fact-checking SNL.  Re:  The Interenet Freedom Act (Net Neutrality) which allows ISPs to charge as much as they want for poor service.  It’s wrong that telcos are allowed to pay people to lie for them and mislead the public with sites like handsoff.org.  Telecos are using a public resource and should be acting in the public interest.  Believe most people are good and trustworthy, reason why streets are safe, still need to be careful, there are some bad people out there, but for the most part people are good.  The reason why you hear more from crazies is because moderates have stuff to do.  These days if you don’t have a social media strategy, you’re a tree falling in the woods.  Very accessible, feel free to email in the afternoons at craig@craigslist.org or on Twitter @craignewmark, or on facebook.com/craignewmark.  Blog is at www.cnewmark.com.

Richard Hart, Next Step
Al Gore was on hand at Current TV in San Francisco yesterday as pink slips were handed out.  Don’t always need polished media these days, read a lot build own pictures in head.

Adeo Rossi, Founders Institute & TheFunded.com
VCs keep a long blacklist.  CEOs are fearful to share key insights on who best to partner with for funding.  Recognized a market need for a subpeona-proof anonymous forum for CEOs to safely share unbiased information.  Use gmail because its also subpeona-proof.  Only CEOs allowed in the Club, each applicant is background checked, so far have 13,000 members.  Not looking to monetize, only 1000 hits per month.  If you see something on the public site, it’s likely not true, its a shill.  The VCs on the top of the list love TheFunded because they see a lot more deals.  Re: trends, happy to see the death of newspapers:  landfill makers, forest killers, banking OPM and the combustion engine.  Eventhough FAS 157 says Twitter is not worth $1B, rather worth $0, and in tough times failure is not an option (referencing yesterday’s FailCon) – its a great time to build!  Yes, Build!  Traction path:  idea, team, prototype, launch, adoption, revenue, profitability.  To launch TheFunded, invested $1500 for VC directory, made available to members-only as incentive to join, asked friends to populate with first 30 reviews.  btw:  Netflix marks to market salaries for all employees.

Kevin Yen, YouTube, @kevinyen
Heads up monetization for channel partners and branded entertainment.  Channel partners find YouTube additive, reaches different people.  Insight tool super-powerful analytics tells you demo of who is watching.  When someone is searching for content, they’re engaged, they’re looking to go to another page, whereas when someone is watching a video, they’re in watching mode, more likely to click on the next video.  YouTube is bullish on branded entertainment and you will start to see a lot of it.  Industry is trying to figure out how to scale it to a $100-$200mm business.  If channel partners integrate a brand, all they need to do is check a box.  YouTube stars are in high demand, like Fred and Smosh.  They are choosy about the projects they accept, know the value of they’re audience and won’t betray their fans by selling out.  There is a set than can drive 1mm+ views, and a set that can drive 100,000+ views, and both sets are getting custom promotion work.  Brands like Carl’s Jr and Jet Blue like using social media stars.  The new FTC guidelines on blogger endorsements doesn’t apply to branded entertainment.  The content is entertainment, it’s not the same as news or medical advice.

Anthony Soohoo, CBS Interactive
CBS is not on the boxes yet, not on Xbox, PS3, TiVo, Roku, Boxee, ZillionTV or Y! Measurement is a barrier .  For branded entertainment, the challenge is putting the right content in front of the right audience, have 20 types of branded entertainment shows slated.  Watch for Michael Cera’s Clark & Michael to make a comeback on TV.com.  As far as paid v free, dual revenue stream, subscription comes up every recession, it will cycle back when ad rebounds, CBS is happy with ad model, offers a hybrid, sell shows via iTunes, DVDs, offer them free on TV.com.  Some like ad-supported tv, web, others want to own.  Will start to see some interactivity, has a place in fashion shows and red carpet events, watch for Victoria’s Secret happening in coming weeks.  For brand awareness sometimes overlay works better.  Metrics tracking viewership across all screens will be huge next year.  Experimenting with 360 UGC tie-ins, did I Kissed a Girl singalong contest for the Grammy’s, winners won tickets and appeared on the CBS Morning Show.

Joy Marcus, Dailymotion
60mm monthly uniques, 10mm in US.  We’re a distributor, and syndicator, but don’t produce original content.  DM, like YouTube, provide an audience that is additive to our MotionMakers, demo:  high income, urban, techie.  Re Hulu’s rumored paywall, Hulu is a DM partner, we love Hulu with its gorgeous interface, but the inventory is spotty, can’t always find all the episodes, might be worth it to some to pay for it.  I remember when paid + music = ridiculous til iTunes provided a must have product. DM hosts contests all day long.  For the MTV Awards, did a movie spoof UGC contest, very large submission numbers.  Branded entertainment is here to stay, wouldn’t have said this 5 years ago, but the demand from advertisers is very strong, works well for marketers or they wouldn’t be asking for more.  Demand is so strong, we’re doing a road show looking for a production partner.  DM Motionmakers have been hired to produce commercials for brands, Coke, etc.  DM takes pride is fostering talent.  In the next month will be announcing a partnership for DM MotionMakers with a TV network.

Mitch Galbraith, Funny or Die
In the beginning made a decision to focus on making FOD a destination site to serve our celebrity principal partnerships, foster an environment for celebrity talent, frugal in-house production that never lets spending get ahead of web economics, in-house ad team.  Would send out widgets to recruit in the wild and bring back to the site, would see traffic bumps of 15-70% depending on the virality of the video.  Make $10mm a year, half of ad business is related to campaigns built around brands like McD, Norelco, Paramount…  We did a wildly popular spot for EA Sports with Charlize Theron…another one for MoveOn.org got 2.5mm views, entertaining, funny with brand message.  Make it good enough to mix into content pool, not in a sneaky way, its not misleading the public, they watch what they want to watch.  Right now there are no standards for branded entertainment but there isa group of publishers and advertisers working on it.  The Lindsay Lohan eHarmony spoof was not branded entertainment.  Now that FOD is well-established as a premiere comedy video brand and distribution has matured, we’re starting to syndicate our low-cost high-quality comedy content across web, tv, film.  11/09 FOD is launching a YouTube channel.  1/10 FOD is debuting a  half-hour show on HBO, and FOD’s first feature is in development.   TV is a huge opportunity, excited that Boxee and Macrovision are forging a path but its all pretty nascent, not where we invest.  Platform to discover talent, do look to develop talent and have sent producers on to SNL and Sony Pictures.

Stephen Condon, ATT Digital Media
On paywall, subscription is the flavor of the day, past experience says there is little money to be made from pay model apart from exclusive events not available elsewhere and those for niche audiences.  That said, having a pay option sets a perceived value for the content, user might be feel better sitting through ads if the alternative is to pay $10.  Looking forward to Macrovision’s (now Rovi’s) net guide on tv where you can search for program by name instead of just by day and time, and integrating personal video library.  Technology right now is a huge problem, no one wants 4 remotes, want seamless connection to TV.  Clickable video is tremendously impactful, lack of standards holding it up.

Tom DeLuca, Warner Home Video
Some budget are 100% online, some zero but mostly tv/web go hand in hand to be successful.  Trying to get more efficient with spending, go beyond the banner, love the engagement on Meebo, saw it and said we’re in.  Fan of mobile, LBS bluetooth marketing, couponing is untapped in US, looking to Asia.  Innovation drives decision.  Still an internal sell.  Marketers feel more comfortable with TV buy.  So pricing is key, budgets are very specific.  Want to know if we pay this, then these will be our brand evangelists.  There is a finite qualified audience and we know how much to pay for them.  Expect pricing to stay consistent.

Jim Louderback, Revision3, @jlouderb
At the point where long and short form content is going over the top, web video on tv is here, will take off with Roku’s new offering focused on indies: Revision3, TWiT.tv, etc.  Focused on emotional branding, where trusted host talks about sponsor, better reach to core group of millennial men, we get $80 CPMs for that.  It’s not an impression unless it makes an impression.  CPMs hold up when you deliver audience in a trusted way.  Premium content is whatever the audience wants, J&J bought Babycenter because they wanted new baby moms.  That’s premium content. Glam is half-premium, not specific enough within the women’s category.