Pages

Showing posts with label content. Show all posts
Showing posts with label content. Show all posts

Nov 14, 2012

Facebook rolls out the share button to mobile users

Designed to encourage mobile users to share more types of content with their friends, Facebook is rolling out a new share button for the mobile interface.

Detailed by Techcrunch earlier today, Facebook has launched a share button on the mobile version of the social network and is planning to add sharing capabilities to both the iOS and Android applications at a later date. While the ability to share a particular article, video or picture is commonplace on the Web version of Facebook, mobile users can simply tap on the new share link in order to pass along an interesting piece of content to their friends. When a user brings up the mobile version of the social network, they will notice a new Share button to the right of the Like and Comment buttons. 

Tapping the new share button brings up an interface that allows the user to write a comment that goes along with the shared content. In addition, the user can isolate the post to a specific subset of their friends through groups or post it publicly in order to reach all subscribers.

Once the user is satisfied with the post, they confirm the sharing action by tapping the Share button in the top right corner of the screen. Alternatively, cancelling the post returns the user to the news feed. The new share button is only appearing within the News feed at this point. When visiting a personal page of a friend or a brand, the share button hasn’t been incorporated within the design yet.

The launch of the new sharing feature marks a trend in Facebook’s strategic approach to mobile. While the inclusion of the sharing button isn’t a technical achievement by any means, the priority of improving Facebook’s mobile interface is evident. According to Facebook’s third quarter results, the social network has approximately 600 million active mobile users each month. In addition, about 120 million of those active users check Facebook exclusively through a mobile device. The addition of the share button on the mobile version of the site could result in a spike in the amount of articles, videos and pictures that are shared each day. 

With the addition of the share button for mobile users, this brings Facebook more in line with social network competitor Twitter. On the web version of Twitter, users are encouraged to retweet posts and share them with friends. It will be interesting to see if mobile users on Facebook transition from the Like action to the Share action. Potentially,  it could significantly increase the amount of shared content people find in their News feeds each day and possibly drown out other status updates from friends and family.

However, it could be extremely helpful to brands and advertisers since the share action is more valuable when attempting to spread a particular piece of content. In a related story noted by The Next Web, Facebook is also rolling out a new feed that allows a user to view posts from brands and other pages into a completely separate feed. While posts from those pages will still appear within the News feed, users can visit this page in order to view recent updates only from liked pages.


Source : digitaltrends[dot]com

Nov 8, 2012

Netflix to become a traditional TV producer in new ‘Killing’ deal?

Netflix has already branched out into funding original content for its Watch Instantly service, but a new deal may see it co-fund a television program for cable television for the first time.

Months after it was initially raised as a possibility, it turns out that Netflix is nearing a deal with AMC to keep the critically divisive The Killing alive – but in such a way that suggests that the DVD-lending, content-streaming giant is looking to move into more traditional studio waters.

According to a report on Deadline: Hollywood, Netflix is nearing a deal with AMC and Fox TV Studios for a third season of Veena Sud’s American remake of the Danish series Forbrydelsen that will see the company share production costs butnot receive any form of exclusivity of debut for the content (The original rumors for the deal back in August suggested that Netflix was looking to secure exclusive first use rights for any new episodes produced, with an eye to the series then being aired on AMC at some undefined later point, similar to the deal worked out between DirecTV and NBC for the latter seasons ofFriday Night Lights). Instead, AMC is expected to premiere the episodes with the season being added to Netflix upon broadcast completion.

According to Deadline, two things made the deal more attractive to all parties involved. Firstly, executive producer and showrunner Sud had what was described as “a strong third-season pitch” for the show, which may allow it to relaunch itself following the second season conclusion of the long-running “Rosie Larson” case and give new viewers a chance to start the show without fear of missing backstory, and secondly, Fox TV already had all actors contractually locked into a third season, keeping costs down while also ensuring that break-out stars Joel Kinnaman (Soon to be see as the new Robocop) and Mireille Enos attached.

What’s surprising about this deal is the lack of “get” for Netflix; previously, when the company has made forays towards funding or producing original content, it has done so because it would get “first dibs” on the result (See its deals for Lilyhammer, or the currently in-production new season of Arrested Development, not to mention the American remake of British political drama House of Cards). Instead, this deal appears to simply give Netflix after-the-fact rights to stream the show, in a way that isn’t significantly different for viewers or subscribers from the way that other television series get handled. Obviously, there is the differentiator of the fact that Netflix will (co-)own the third Killing season and therefore won’t have to worry about paying licensing fees or the possibility of the content being pulled away from it should relationships sour with the rights-holders, but nonetheless; is that enough of a gain that Netflix should move into a position more traditionally taken by studios or financial backers for the first time?


Source : digitaltrends[dot]com

Oct 17, 2012

The CW’s digital studio gets a Homecoming with two new series

The CW's new digital studio, CWD, has signed two more shows to its schedule, including the final season of a series that debuted on MySpace in 2007.

Not content with filling your television screens five evenings a week with quality entertainment like Supernatural, Nikita and America’s Next Top Model: College Edition – Hey, at least the first two are good, okay? – the CW is moving into digital distribution with the announcement of two new web series being added to the production slate of the channel’s digital studio, CWD.

The most high-profile of the two series is Prom Queen: Homecoming, the third (and final) season of Vuguru’s Prom Queen web series. Launched in 2007 by Vuguru – the web production company owned by former Walt Disney Company CEO Michael Eisner – and Big Fantastic, the series made its debut on MySpace before running 80 episodes (each lasting 80 seconds) across twelve weeks, with over 15 million viewers “tuning in.” The second series, Prom Queen: Summer Heat, debuted later that year. Homecoming isn’t actually debuting on CWD; the real debut came two years ago, on Canada’s CityTV online network. Instead, the CW is calling the show’s addition to its CWD line-up as “the US debut,” adding that it will now be the exclusive home for the season as well as the two earlier Prom Queens and prequel seriesSam Has 7 Friends.

In addition to the Prom Queen franchise, CWD is adding a new series spinning off from an established online property, with CelebTV on The CW. Described as “a daily short-form entertainment series that gives fans the inside scoop on their favorite CW stars – both what’s happening on-screen and off – from red carpet sightings and magazine cover shoots to new projects and style secrets,” the series leverages CelebTV’s existing digital network – which already offers daily videos covering the lifestyle and entertainment beats, and has partnered with Hulu, YouTube and Xfinity – to produce new reports specifically based around the existing CW brand, so expect to see a lot of Kristin Kreuk, Stephen Amell and Maggie Q teasing future episodes of their shows amongst fast-cut breathless reports about why this season of Supernatural is the best one yet.

The two series will join the already announced Stupid Hype – A show about the return to fame of a former breakdancer that will surely delight anyone who’s ever wanted to see Vanilla Ice’s career recreated for laughs with undertones of Eminem’s 8 Mile big-screen debut (Check out the trailer for proof) – on the soon-to-launch CWD, which will make series available through multiple avenues. Not only will the CWD have a dedicated part of the CW’s official website, but its content will also be made available through the official CW Facebook page, as well as being attached to full-episode streams of broadcast shows through CWTV.com and the CW’s YouTube channel.


Source : digitaltrends[dot]com

Oct 15, 2012

Following Halo 4 leak, Microsoft bans pirates from Xbox Live

halo 4 torrent

Retail copies of Halo 4 slipped out into the wild weeks ahead of the game's official November release. Creator 343 Industries is undeterred, continuing work on extra content for the game, but Microsoft has responded to the Halo 4 leak by permanently banning players on Xbox Live.

There’s just no keeping media under wraps in the modern age. Microsoft and 343 Industries’ Halo 4 is the latest video game to leak onto the Internet well ahead of its November release date. Images of retail discs of the Xbox 360 exclusive appeared online on the web forum NeoGAF on Thursday, as well as images of the game running on an Xbox 360 dashboard. Full video playthroughs of the game began appearing online later on. “There are people putting the whole thing on YouTube,” Halo franchise director Frank O’Connor told Polygon, “Microsoft is addressing that a single case at a time, it just takes a little while to handle.” The leak is thought to have originated at a manufacturing facility.

While O’Connor said that the team at 343 Industries is unsurprised by the leak, and undeterred from its in-progress development of downloadable content for the game, like new Spartan Ops episodes, Microsoft is getting more aggressive in its pursuit of Halo 4 pirates.

Anyone playing the game on an Xbox 360 connected to the Internet, for example, is receiving a lifetime ban from Xbox Live. These users, according to MCV, are receiving emails to tell them they have been suspended from the service.

“This email is to notify you that your Xbox Live privileges have been permanently suspended due to illegitimate prerelease title play. Because your conduct is in violation, the Xbox Live Enforcement Team has issued a permanent suspension. Your Xbox Live privileges will not be reinstated.”

These users have little recourse as, according to Microsoft’s Xbox Live Code of Conduct, the company reserves the right to suspend new accounts opened by users trying to get around suspensions, provided Microsoft identifies them.

This isn’t the first time that Microsoft has sought and permanently banned Xbox Live users. In 2011, Microsoft discovered a number of users that had illegitimately accessed Xbox Live Marketplace items and began issuing bans from the service that would last until the date 12/31/9999. It has also regularly banned cheaters from using the service. It actually isn’t even the first time it’s banned players for playing pirated Halo games. A number of players received permanent Xbox Live bans in 2010 for playing Halo: Reach a month before it was released.

With Halo 4 appearing on Torrent sharing websites, will the release of Microsoft’s big holiday game be hampered by lost sales? We’ll know in November.


Source : digitaltrends[dot]com

Oct 10, 2012

YouTube mulls possibility of paywalled content channels

Would you pay to watch content on YouTube? That hypothetical question may move into a practical realm soon, with the announcement that YouTube is considering allowing its content partners to install paywalls for their channels.

Since its creation, YouTube has been available to everyone – Well, aside from private videos, of course – for the grand price of zero dollars and zero cents. But that might be about to change, if an offhand comment from the global head of content at the Google-owned company carries the weight it seems to. Are you ready for pay-to-view YouTube channels?

Robert Kyncl, YouTube’s global head of content, was speaking at “The War for The Living Room” panel at this year’s Abu Dhabi Media Summit today when he suggested that the company is considering a proposal to allow some of its original content channel partners to install a paywall to monetize their content on the site. “The majority [of channels] will be ad-supported,” he said, but “there will be some that will be paid.” Expanding on the subject when talking to the Hollywood Reporter after his panel appearance, he said that YouTube has no set plans to allow partners to make their channels pay-subscription only at this point, and that discussions are at such an early stage that he wouldn’t want to speculate on potential subscription fees or a launch date for the subscription model.

The question of how to successfully monetize YouTube – a site that, more than most, relies upon a model where users can stumble upon content by accident, and freely share it without fear of being penalized for doing so – has been one that the company has wrestled with for some time. Currently, the site offers different levels of advertising for different videos, with Kyncl saying that more popular videos, or specifically branded content, can be offered at higher ad rates; the explanation he offered was that a video of a dog on a skateboard would normally sell ad time at $2 per thousand advertisers, but if the video appeared on Tony Hawk’s official channel, it could be offered at anything up to $20 per thousand viewers.

Currently, Kyncl says, YouTube is looking to “take the friction out” of the ad process, looking at ways to maximize revenue for the site and its content partners. The current model sees YouTube selling ads on the channels and keeping all revenue until its original investment has been repaid via ad dollars. When that goal is reached, he says, all advertising revenue will be split evenly between YouTube and the channel partner in question.

It remains to be seen whether or not installing paywalls would harm the new content partner channels in enough of a way that it would result in lowered revenue, at least in the short term. After all, even if viewership drops, is the resultant loss in ad income really going to be high enough that it’ll mean the site and partner earn less considering the remaining viewership will be paying to view…?


Source : digitaltrends[dot]com

Sep 26, 2012

NPD: People prefer watching online video on televisions over computers

Samsung Smart TV

Definitely driven by the accessibility of streaming content on smart televisions, more people are watching online video in the home theater.

According to a new study published by the NPD Group, the most common place to watch online, streaming video is now the television rather than the personal computer. According to the results of the study, 45 percent of consumers use the television as the primary place to watch free and premium streaming video off the Web. When asked the same question during 2011, only one third of the respondents utilized the television as their first choice for watching streaming video. Alternatively, the amount of people that choose a personal desktop or laptop computer as the primary screen to watch online video dropped from 48 percent in 2011 to 31 percent during 2012. 

Netflix UINPD attributes the shift to the increased adoption of Web-connected, smart televisions as well as usage of set-top boxes like the Roku 2 or gaming consoles like the PlayStation 3 on older televisions.

According to NPD’s data, about ten percent of U.S. households have at least one smart television with access to streaming video applications like Netflix or Hulu Plus. In addition, more than forty percent of those households with smart televisions have accessed one form of online entertainment within the past year.

When asked about the transition of online video into the home theater, NPD Group senior VP of industry analysis Russ Crupnick stated “The growth in connected TVs is another sign that online video is maturing. Streaming video has moved from the dorm room to the living room; and, as more households obtain and connect TVs to the Web, we predict increased trial and engagement for video distribution services.”

Definitely not surprising, Netflix dominated consumer’s time in regards to services being used on Web-connected televisions. Approximately forty percent of the respondents that had a smart television used the flat panel to access Netflix Instant programming. Other popular services included the similarly priced Hulu Plus and the pay-per-view movie service Vudu. Perhaps most interesting, nearly twenty percent of households with smart televisions stopped using devices like set-top boxes, gaming consoles or Blu-ray players to access streaming video applications.


Source : digitaltrends[dot]com

Mobile developer Red Robot Labs snags industry vet John Davison

Mobile games developer Red Robot Labs welcomes their new Director of Content and Publishing John Davison. His history with the gaming industry bring a lot to the table for the start-up.

Mobile games developer Red Robot Labs focuses many of its games on location-specific elements, but with its latest hire, the company may be looking to relocate itself to the top of the gaming world. John Davison, a 20-year veteren of the video game industry, will call Red Robot Labs his new home as he settles into a role as the start-up’s Director and General Manager of Content and Publishing.

Davison’s most recent position prior to this announcement was Vice President of Programming for CBS Interactive Games, which left him as overseer of content for GameSpot and Metacritic. He had also served as editor for Ziff Davis’ network of tech and gaming sites. Essentially, if there is anyone that knows the gaming world, it’s John Davison. 

Red Robot Labs, the team behind the well-received Life is Crime and Forever Drive–both available on iOS and Android–are happy to welcome Davison in from the world of covering gaming and into the world of making them. In a press release from the company, CEO Mike Ouye stated, “As a video game industry veteran with a proven entrepreneurial track record, John is the perfect addition to Red Robot as we aim to disrupt and innovate the mobile space for gamers.”

Davison is already staking his claim for what he plans to bring to Red Robot Labs and the gaming landscape as a whole. “There is a huge opportunity to build new products around the ways that gamers interact and discover content, and the team at Red Robot understands this better than any group I’ve ever come across. We want to empower gamers with technology designed specifically for them.”

Considering both Red Robot Labs’ and John Davison’s track records of innovation, creativity, and community, there’s a lot of promise in this partnership. Gamers everywhere should be on the lookout for whatever may come next from this team.


Source : digitaltrends[dot]com

Sep 25, 2012

Barnes & Noble reveals Nook Tablet HD, HD+ with new video service

Barnes and Noble announces two lightweight, high resolution tablets. They'll roll out just in time for users to watch HD content from the new Nook Video store.

Just in time for the holiday season–and conveniently in time to compete with new offerings from competition–Barnes & Noble has announced two new tablets for your viewing and reading pleasure. The Nook HD and Nook HD+ are ready for pre-order starting September 26. They will hit store shelves in late October.

>>Read our full hands-on impressions of the new Nook HD and Nook HD+

The Nook HD is being dubbed the “lightest and highest resolution 7-inch HD” tablet in the world. While that is a bold — if not extremely specific — claim, Barnes & Noble aims to back it up with the Nook HD’s specs. The 7-inch tablet weighs in at only 11.1 ounces while packing in 243 pixels per inch. For comparison’s purposes, that’s just short of the third generation iPad’s 264 ppi and about half of the Apple tablet’s weight. With a 1.3GHz dual-core processor, 8GB or 16GB of built in memory — expandable to 64GB with a microSD card — and 1GB of RAM, there should be no issues with powering the pixel-heavy screen. The battery promises 10.5 hours of continuous reading or 9 hours of video, making it almost directly comparable to the new iPad’s battery. The Nook HD starts at $200.

While the Nook HD should please fans of smaller tablets, the HD+ is looking to prove size matters with two extra inches. The 9-inch tablet features a full HD display with a 1920 x 1280 pixel resolution and 256 pixels per inch, making it a great home for 1080p content. The “+” in the devices title also denotes an upgraded dual-core processor, clocking in at 1.5GHz. The HD+ will come in 16GB and 32GB models and feature two color options: Smoke and Snow (gray and white, if you’re not into fancy titles). Owners of these models will also get a little more weight in their hands as the Nook HD+ weighs in at 18.2 ounces — still slightly lighter than the latest generation iPad. The starting cost for the Nook HD+ is $270.

The HD focus on the latest line of Nook tablet offerings places emphasis on another new product from Barnes & Noble. The book and media company is expanding their empire to the video world with Nook Video. The newest service will be added to the Nook Store premiere this fall and will feature content from major media partners like HBO, Sony, Starz, Disney, Viacom, and Warner Bros. TV shows and films will be available for streaming or for download once the shop opens its doors to the public. An especially enticing selling point of the service is the ability to integrate physical copies of DVDs and Blu-Rays you already own into your virtual library through UltraViolet. Of course, what better device to watch Nook Video content on than a brand new Nook HD or HD+? 

One of the big points that Barnes & Noble seems to be hammering home with these HD offerings is the fact that there are no ads, calling advertisements “distracting” and “annoying” — a clear jab at Amazon, which puts ads on its Kindles. The company doesn’t appear to be pulling any punches when it comes to marketing their products. Will it put up as much of a fight in sales figures when put up against the revamped Amazon Kindle Fire’s and theoretical new iPads of the world? Check out our hands on for some first impressions of the products.


Source : digitaltrends[dot]com

Sep 24, 2012

Netflix confirms loss of streaming content from A&E Networks

More than 800 hours of content from A&E Networks disappeared from Netflix's Watch Instantly service on Friday, and it may not be coming back quick enough for the streaming provider, thanks to complicated negotiations.

If you’ve been spending your downtime this summer catchng up on such shows as Hoarders or Pawn Stars on Netflix’s Watch Instantly streaming service, you may have been surprised this weekend when you went to continue your catch-up spree. Don’t worry, however; you weren’t falling victim to some kind of well-intentioned televisual intervention via long-distance proxy when you couldn’t find the shows on the service. It turns out, around 800 hours of content from A&E and affiliated networks was taken from the service on Friday, and more is on the way out.

The Hollywood Reporter has confirmation from Netflix that the A&E titles were removed from the service at the end of last week. “A number of titles expired today, that is true, but we have titles coming on and off all the time,” reported Netflix spokesman Joris Evans when asked about the disappearance of shows including not only Hoarders and Pawn Stars, but also Storage Wars, American Pickers and several others. As Evans’ statement may suggest, Netflix is playing down the show’s disappearance, and with some reason; the company is actually still in negotiation with A&E over a new agreement that would see the various shows return to the service sooner rather than later, in which case, why draw attention to what may end up being a hiccup in service?

On the other hand, there’s the other hand. The negotiations between A&E and Netflix didn’t lead to an agreement in time for uninterrupted service, and they are still ongoing three days into the shows being offline with, according to the Hollywood Reporter’s unnamed sources, no end in sight. The issue that hasn’t been settled isn’t, apparently, anything to do with money but exclusivity, interestingly enough; Netflix is said to be asking for “some level of exclusivity that A&E is unwilling to grant.”

It’s possible that this could be a sign of things to come for Netflix. With the rise of alternate streaming avenues for broadcasters – Amazon Prime and Hulu, to name just two, not to mention the continually-rumored Apple variation on the idea that may or may not be connected with the equally long-rumored Apple TV product – Netflix may find more and more often that broadcasters have no problem with the idea of sharing their content with streaming services, but are increasingly unwilling to limit the number of services that their content is available on, no matter how much money is offered to sweeten the deal. In this, Netflix may be a victim of its own success; having proven the value of streaming content, now they have to deal with a market in which the content providers recognize the value of their content in this context.


Source : digitaltrends[dot]com

Sep 17, 2012

Shazam now recognizes 160 television channels to enhance TV viewing experience

shazam

Shazam announced its foray into providing auxiliary content to enhance your television viewing experience in over 160 channels.

Shazam, boasting over 250 million users worldwide, announced today that the app will now support television programming on just about any channel, at any hour.

You may have noticed during American Idol, the Super Bowl, or the London Olympics that a Shazam icon would appear at the bottom corner of your TV screen, during a participating commercial or programming. If you’ve ever bothered to press on “Touch to Shazam,” during a show, additional information about the programming would pop-up on your mobile device. With today’s announcement, Shazam users will be able to access complimentary content through over 160 participating television channels and its users won’t be required to own any cable or satellite television subscriptions.

A Pew Research study from its Internet and American Life Project, which we reported on earlier, is evidence to the growing demand by consumers for additional content that accompanies the television viewing experience. In fact, 52 percent of adult cellphone owners will supplement their television watching with their smartphone. 

Now for those of you that use the Shazam app used while watching television, you’ll be able to find further details about the show that you’d otherwise be forced to tediously Google. Shazam’s television integration will determine what music is playing from the show’s soundtrack, what actors and actresses appear in the program (including other shows that the actors have appeared in), and relevant links to the show’s IMDB and Wikipedia pages, and the official website. You’ll find some interactive and social features that you could access during the downtime during commercials including the latest celebrity gossip about the show and stars, trivia about the show, and a live Twitter feed where viewers can read or weigh in on what other fans are saying about the program.

And if it’s a sporting event that you’re watching, in lieu of cast information you’ll be provided stats, scores, and schedules.

“Over the last year, Shazam has been testing and learning what works by building dozens of custom interactive second-screen experiences for select television shows and events,” Shazam Chief Revenue Officer, Doug Garland, said in a statement. “We’ve applied what we’ve learned to our newly expanded service, and will continue to work closely with our network partners and show producers to build special, unique second-screen experiences for their tent-pole television events and many of the most popular shows on TV.”

Shazam’s also doing what it can to boost its own social integration, a necessity for most apps today. In the coming weeks, Shazam also make its way on your Facebook newsfeed and Timeline when your friends are tagging the shows that they’re watching.


Source : digitaltrends[dot]com

Sep 14, 2012

What you need to know about the new Copyright Alert System

Big-Brother-shutterstock

Major U.S. ISPS are supporting the Copyright Alert System of escalating strikes when Big Content makes piracy accustations. What do you need to know before it arrives?

Some of the biggest U.S. Internet service providers are getting ready to embrace the Copyright Alert System, a policy of escalating alerts and “mitigation measures” that ISPs will force on their customers when copyright holders accuse them of pirating content.

The Copyright Alert System is often described as a “six strikes” policy — with the implication that if someone’s accused of piracy six times, they’ll lose their Internet service. That’s a misrepresentation. First, it’s a system of four to six alerts — some folks might get six, but others will get fewer. Second, the system doesn’t actually have a stage where users lose their Internet service — as always, that’ll remain solely at the discretion of ISPs, who can turn it off anytime they like for any reason.

So what is this thing, and do you need to be worried about it?

What is the Copyright Alert System?

First, the Copyright Alert System is not a law. It’s a series of escalating notices and educational materials that ISPs will voluntarily present to subscribers allegedly distributing or consuming pirated digital content. The initial emphasis will probably be on movies, television shows, and music, but it can apply to anything. Content owners — movie studios, publishers, record labels, and the like — will give ISPs specific IP addresses and times that users on their networks are allegedly engaging in piracy. ISPs will then start sending notices to users.

The system was supposed to go life in July of this year, but is now expected to roll out with major ISPs by the end of 2012.

Where did the Copyright Alert System come from?

Illegal Downloading

Right now, most ISPs have their own set of policies and procedures for dealing with digital piracy — and they’re usually pretty hands-off. ISPs generally do not want to act as copyright police — they view that role as tremendously costly (with no upside), and a slippery legal slope that could alienate customers. As a result, most ISPs pursue  anti-piracy policies in the name of network management — think of bandwidth caps that limit the amount of data subscribers can send or receive, with penalties for going over those limits.

Movie studios, record labels, publishers, and other representatives of the content industry aren’t happy with that situation. When they believe an Internet user is engaging in piracy, they can contact that person’s ISP and present their evidence, but the ISP isn’t under any obligation to do anything about it. After all, the report doesn’t carry any legal weight, and enforcement represents a burden. Most ISPs will warn users (or, sometimes, eventually disconnect them), but the policies are inconsistent and sometimes even non-existent. For the content industry, the Copyright Alert System means a more consistent response to reports of digital piracy — and, more importantly, that participating ISPs have agreed to participate.

For the content industry, the Copyright Alert System is also less likely to blow back on them. If there’s one thing the content industry has proven, it’s that threatening to bring legal action against all fire-sharers they believe might be engaging in piracy is costly, embarrassing, and largely unsuccessful (even with a recent re-instatement of a $222,000 penalty against Jammie Thomas). Groups like the RIAA and MPAA would rather work with ISPs — quietly and directly — than get lawyers involved.

The two groups hammered out the basics of the Copyright Alert System in mid-2011; their memorandum of understanding is filled with legalese but remains the most detailed articulation of the system to date. The system is being shepherded by the Center for Copyright Information, headed up by former People for the American Way executive Jill Lesseris.

What are the alerts?

fuzz alert

There is no fixed system of alerts, but ISPs participating in the Copyright Alert System will probably implement four to six stages.

The first time a user’s account is accused of piracy, the ISP will send an alert (probably via email) that their account has been accused of distributing copyrighted material, perhaps as the result of misuse. The notices will point out that piracy violates the ISP’s terms of service and potentially subjects users to malware and other security risks. The notice will also point out legal ways for users to get the digital content they want.

If the alleged behavior doesn’t stop, the notices will escalate, but how remains up to the ISP. One path might be to send another notice, or perhaps send notices via postal mail or with return receipt technologies if the alleged abuses continue. From there, ISPs can move on to “mitigation” measures, like throttling a user’s Internet service, redirecting Web browsers to a landing page telling users they’ve been accused of piracy, or forcing them to watch educational videos before letting them resume full Internet access.

The Copyright Alert System does not mandate any fixed number of “strikes” that will cause users lose their Internet access. Any decision to terminate Internet service is completely in the hands of individual ISPs, just like it is today. In fact, it actually has some protection systems for users built in. Any mitigation actions taken by the ISP cannot terminate email service, voice services (like calling 911) or things like home security and health equipment monitoring services.

What ISPs are involved?

Right now, AT&T, Cablevision, Comcast, Time Warner Cable, and Verizon have all agreed to participate in the Copyright Alert System. Combined, the account for about three quarters of all residential Internet service in the United States.

Who is doing all this “alleging”?

The two main organizations representing the content industry in the Copyright Alert System are the Motion Picture Association of America (MPAA) and the Recording Industry Association of America (RIAA). Both organizations already employ organizations to track and identify systems engaged in digital piracy, usually over peer-to-peer file sharing networks.

How will accusations work?

Accusation (Shutterstock / lenestan)

Record labels and movies studios hire companies (like Peer Media or DtecNet) to sniff out pirates. Once they identify a torrent or other pirated content that they believe infringed on their copyrighted content, they can collect quite a bit of information, including the IP addresses of other users connected to a torrent, whether to upload or download the content. In the industry’s eyes, all those people are conducting or at least enabling piracy. Sometimes, the companies will even bait pirates by seeding torrent sites and other peer-to-peer services with blocks of data that purport to be hot new content items… and then seeing who nibbles.

Once the IP addresses of alleged infringers have been identified, they will be passed along to the ISPs — with timestamps, which ISPs need for this information to be meaningful. Under the Copyright Alert System, the ISPs will initiate (or escalate) alerts or mitigation steps applied to the identified subscribers. Under the content alert system, the ISPs will not be sharing users account information with the MPAA, RIAA, or each other, nor will they be sharing the lists of IP addresses accused of piracy. If the MPAA or RIAA wants that information to initiate potential legal action, they’ll still have to get it the old-fashioned way: by filing a suit and doing discovery.

But I’m not pirating anything!

The content industry doesn’t care whether the alleged sharing is deliberate or inadvertent. Under the Copyright Alert System, they’re out of the loop once they’ve reported infringement to the ISPs — any enforcement actions are solely in their hands.

There are plenty of scenarios where someone could be accused of piracy without committing it. For instance, if you run your wireless network without security, or it has simply been compromised, anyone in range could be using you Internet connection (and IP address) to download or upload pirated content.

Small businesses are another great example: Lots of cafes, coffee shops, book stores, restaurants, bars, hair salons, grocery stores, and even offices offer free Wi-Fi as a convenience to patrons or clients. Despite their lack of control, they will find themselves subject to the Copyright Alert System. And, although it’s rare, the technosavvy can pretty easily crack passwords on many Wi-Fi networks. That quiet kid in the apartment down the hall might be doing all his torrenting on your Internet connection, rather than his own.

If users believe they’ve been unfairly or inaccurately accused of piracy, the Copyright Alert System does allow folks to request an independent review to be conducted by the American Arbitration Association — starting the process will involve a $35 fee.

More insidiously, the Copyright Alert System has no “watchers for the the watchers.” ISPs will take groups like the RIAA at their word that they’ve reliably determined an IP address is engaging in piracy. If those reports are wrong — whether through a technical errors or deliberate fraud or harassment — it looks like everyday Internet users paying the price.

Do “strikes” carry over?

Nobody knows yet, but right now the indication is “no.” The Copyright Alert System is set up so ISPs don’t share account data or IP address lists with the content industry or each other. In theory, that means a user accused of piracy while using one ISP wouldn’t have those black marks on their record if they switch to another ISP.

So how can I protect myself?

security password login

Most everyday Internet users will never notice the Copyright Alert System — especially if they’ve locked with their Wi-Fi networks. The content industry is generally learning that making media easily available via legitimate channels — like iTunes, Netflix, and other mechanisms — is the best way to deter piracy. So, the simple way to avoid being dinged by the Copyright Alert System is probably not to engage in piracy. Mistakes may happen, but that should keep most users clear.

Folks who do engage in file sharing — which is not in itself illegal — can take steps to protect themselves. Using encryption technologies in file-sharing client software probably won’t do much to protect users: Sure, ISPs won’t be able to peer into your traffic, but ISPs generally don’t want to peer into your traffic anyway. However, other users of the file-sharing service will be able to see what you’re doing, and some of those users work for RIAA and MPAA. And they know how to work around things like PeerBlock that claim to keep spying eyes off your file sharing.

The cleanest way for file-sharing users to protect themselves is probably by using VPN (to encrypt data transiting your ISP’s network) or proxy services. A proxy will effectively mask a user’s IP address from other users on a peer-to-peer network; a VPN establishes an encrypted connection for all network traffic to and from your computer. Neither are foolproof (or necessarily easy to set up), but they represent the best, easily available technology to stay out of sight of the Copyright Alert System.

Should I worry?

The Center for Copyright Information is right about one thing: most users will probably never need to know the Copyright Alert System exists. Folks who watch movies via Netflix, download some stuff from iTunes, and watch videos on YouTube have nothing to worry about. For the time being, the MPAA and RIAA are mostly concerned with peer-to-peer file sharing through services like BitTorrent, and particularly, folks who make copyrighted content available on those services.

The thing is, serious content pirates are already used to working around piracy reporting systems like this. They encrypt their traffic, set up seed sites outside the United States, and generally know what they’re doing. The Copyright Alert System is not going to stop them or even slow them down.

The real question is how smoothly — and competently — piracy sleuths and ISPs can manage this system. If piracy reports are very accurate and ISPs actions on them consistent, the Copyright Alert System will at most be a minor annoyance for folks who are inadvertently participating in piracy, and just “business as usual” for serious pirates.

If the system is inaccurate or causes users to unfairly lose Internet access — particularly in areas where there’s little or no competition for Internet service — then the Copyright Alert System could become another albatross on the content industry’s shoulders — just like DRM and claiming sharing 24 songs on a file sharing network was worth $1.5 million in damages.

[Big Brother image via Shutterstock / Benjamin Haas
Accusing image via Shutterstock / lenestan
Accusing image via Shutterstock / Mario7]


Source : digitaltrends[dot]com

Sep 6, 2012

Top 7 Content Writing Services For Your Website

Like the wider web they assiduously chart, search engines are changing rapidly as industry giants such as Google move to penalize propagators of useless, repetitive or spam-ridden content—in short, anything web users don’t want to see in their SERPs.

The antidote to being caught thusly in Google’s crosshairs is nothing new. Just keep in mind that Content is King—specifically, unique, high-quality content that engages readers and provides accurate answers to their questions.

So what is the best way to meet Google’s post-Panda standards while preserving your valuable time? Hire a unique content writer.

Here’s a round-up of seven of the best sites for solid, unique content, customizable to yours and search bots’ needs.

Textbroker

This website is a refuge from content mills that have earned sketchy reputations. To ensure you get great, targeted content, make sure to post your job for level 4 writers. The great majority of level 4 writers are capable of following your directions and executing the task to your satisfaction in a short amount of time.

Content Row

In contrast to Textbroker’s Open Orders, Content Row provides a ready-access model. Choose from pre-written articles and discover content ideas you hadn’t thought of. Finding the material that suits you is fairly simple. You may search by keyword or category, and search results can be filtered by word count, price range and recency.

Writer Access

Another effective content marketplace is Writer Access, where you may create orders to your specifications, post assignments to all writers with a desired skill set, and build up your own pool of writers whose work you love. This works by gathering writers on your personal “Love List.” Pay only for the work that you love.

Content Authority

The Content Authority is similar to Textbroker in structure. The material produced by writers is generally good, especially if what is needed is a good rewrite of an existing article. The Content Authority is perceived by some as a less expensive alternative to Textbroker, particularly for marketers managing websites in bulk.

Elance

Elance’s writers are from around the globe, so assignments for audiences outside the U.S. may be better filled here. With thousands of writers whose profiles and specialties are searchable via the client interface, Elance is an established, high-rated content marketplace.

Freelancer

One of the world’s largest outsourcing marketplace, it is easy to find workers for just about any content you could imagine at Freelancer.com. Whether your needs be graphic design, programming, article writing, grant writing or classifieds, you’ll have the greatest range of motion at Freelancer, allowing you to distribute interactive content across devices, media and business sectors.

Guru

Guru is one of the most reliable writer-client matchmaking services on the web. The software allows you to pair your projects with freelancers qualified to get the work done in style. Sift through “gurus” based on the percentage of jobs awarded per bid, repeat business and freelancer earnings. Guru’s out-of-the-box labor market empowers clients to vet writers with valuable author statistics.

Tags: Content Generation, Content Marketing, Content Publishing, Content Writing

Source : techtalkafrica[dot]com

Aug 27, 2012

Twitter becomes more secretive about where tweets originate

twitter

While Twitter management wants to emphasize content more, Twitter users may get suckered into clicking on more advertising links.

Quietly rolling out a change to the user interface, developers at Twitter have removed the text that indicates which third party application was used when posting a new tweet. Prior to the change, users would see the name of the third party tool, like Seesmic, posted next to the time elapsed since the tweet was published. Prior to the removal of this information on the Web version of Twitter, this change was made on the mobile version of Twitter and a spokesperson for Twitter told VenturebeatThis is part of our work to simplify tweets and emphasize the content being shared.

Twitter Bird Secret TweetsWhen it comes to celebrity accounts, one downside to this alteration is that it will be more difficult for the average Twitter user to tell the difference between tweets that are original to the celebrity and tweets that have been generated by a team of third party, social media handlers. Prior to this change, one clear sign that a tweet probably didn’t originate directly from a popular figure was the notation of a third party application that typically didn’t appear anywhere else in the feed.

In addition, celebrities and other popular figures that sell tweets to advertisers simply don’t have to be involved in the posting process anymore if they choose. For instance, access to the account could be shared with an advertising firm and tweets could be posted from any third party tool without any loyal fans catching on. According to the Associated Press, celebrities can be paid $10,000 or more per tweet or Facebook status update. 

This change also significantly reduces the amount of free advertising given to third party tools like HootSuite. This will ultimately decrease the amount of Twitter users that are exposed to these management tools in addition to making it extremely difficult for a new third party client to become popular. As of late, Twitter has received criticism from developers due to new limitations placed on the Twitter API. Some developers believe that user growth will be limited by the changes and will eventually cause the elimination of third-party clients. 


Source : digitaltrends[dot]com

Aug 15, 2012

British man sentenced to four years for linking to pirated content

Despite an American court striking a ruling against a website for providing links to pirated video content last week, a British man has become the first UK citizen to face jail time for doing the same thing, receiving a sentence of four years for a site that lasted only one year.

For all we know, Anton Vickerman may have had simple aims when he launched his website surfthechannel.com – Likely just providing a service to the Internet at large, and getting himself a bunch of traffic (and maybe a little profit) in the process – but both he and the website have ended up going down in Internet history nonetheless as Vickerman becomes the first UK citizen to be sentenced to jail time for linking to illegally-uploaded copyright infringing material.

The 38-year old Vickerman was said to be making somewhere in the region of £35,000 per month from the site through advertising, according to prosecutors in the case. He had originally set up the site in 2007 as an online index to video content both legal and otherwise throughout the Internet; the following year, he attempted to sell it for £400,000, claiming that it had generated a profit in the twelve months previous of around £250,000. Both Vickerman and his wife, Kelly, were arrested later that year following an elaborate sting operation during which investigators gained access to his house by pretending to be potential homebuyers interested in the property; Kelly Vickerman was charged with conspiracy to defraud, but cleared in June of this year.

Perhaps tellingly, Vickerman was not charged with copyright offences directly, but instead faced – and was ultimately convicted on – two counts of conspiracy to facilitate copyright infringement. Initially faced a maximum sentence of 10 years in prison, the sentence finally handed down at the end of the eight-week trial was a far more lenient 4 years.

According to Kieron Sharp of the Federation Against Copyright Theft (FACT), one of the organizations that led the investigation against Vickerman, “This case conclusively shows that running a website that deliberately sets out to direct users to illegal copies of films and TV shows will result in a criminal conviction and a long jail sentence.” That stands in opposition to last week’s overturning by the US 7th Circuit Court of Appeal of a judgment against MyVidster.com, an American-based social video site that essentially does the same thing; in that ruling, Judge Richard Posner likened the sharing of/linking to pirated videos to the reading of stolen books, explaining that “MyVidster is giving web surfers addresses where they can find entertainment,” likening it to entertainment listings: “By listing plays and giving the name and address of the theaters where they are being performed,” Posner reasoned, “the New Yorker is not performing them. It is not ‘transmitting or communicating’ them.”

Such legal discrepancies between nations and jurisdictions are unlikely to give Vickerman much comfort, however; in addition to the jail term, his lawyer David Walbank told the court that the case had not only led to his bankruptcy, but also the break-up of his marriage. Crime doesn’t pay, we’re often told, but this particular one appears to have cost more than anyone might have anticipated.


Source : digitaltrends[dot]com

Aug 9, 2012

Craigslist comes to its senses, drops exclusivity terms for postings

While Craigslist is still fighting outside developers, it's not going to demand total control to user-created content.

 craigslist symbolFor the last month, Craigslist has been tussling with outside applications and their use of its content. After yanking content from PadMapper and then issuing a complaint against the apartment hunting service, as well as Craigslist API provider 3taps, the site went ahead and added an exclusivity clause to its posting page that gave Craigslist sole license to your data.

Today, the Electronic Frontier Federation announced that Craigslist has dropped the clause. “It was important for Craigslist to remove the provision because claiming an exclusive license to the user’s posts – to the exclusion of everyone, including the original poster – would have harmed both innovation and the users’ rights, and would have set a terrible precedent,” the organization says. The EFF, where Craigslist founder Craig Newmark serves on the Advisory Board, met with the company to dissuade them from keeping the content exclusivity terms.

It’s a small coup for the many outside developers who have been frustrated by Craigslist’s incredibly closed strategy. The site is still not allowing search engines to index its listings, and by all accounts still pursuing legal action against the Internet’s beloved PadMapper and its ally 3taps, but at least users can rest easy knowing they won’t be forced into agreeing to exclusively give craigslist ther content.. As EFF mentions, founder Craig Newmark has been incredibly active fighting for users’ Internet rights, as well as using the Web as a means to solve larger problems with his craigconnects organization. In general, he seems like he’s one of the good guys.

Of course, despite the site’s name, Newmark’s own involvement in higher-level decision-making at Craigslist is far less than you’d think. He mostly works in customer service for Craigslist these days, so his own personal ideals shouldn’t necessarily reflect the company’s business tactics. Which, even as it drops the exclusivity terms, are making Craigslist look like a data-hungry bully. 


Source : digitaltrends[dot]com

Aug 7, 2012

How to Watch BBC Iplayer Outside Of The UK

BBC Iplayer is one the most popular tools for UK natives. They use this tool to view their favorite content From BBC network. BBC is a popular news portal that has many different entertainment options for its viewers. Unfortunately, BBC Iplayer is only viewable to internet users that live in the UK. With VPN services you can learn how to Watch BBC Iplayer while living outside of the UK and more. VPN services allow internet users to work on a secure network and gain access to new IP addresses. This IP address matches those of the host nation. These services are cost effective and open up the World Wide Web because it bypasses restrictions.

Gain A New IP Address 
With VPN services you will learn how to access any website you want. You can Watch BBC Iplayer while living outside of the UK or view your favorite websites from other countries. This is done by changing your IP address. This IP address matches those of the host nation. This means that you will remain anonymous and bypass restrictions. This will open up the world of the internet.  VPN Technology has many features and benefit that inspire internet users to continue to use these services.

Protect Your Computer From Intruders
Not only can you Watch BBC Iplayer while living outside of the UK and view full content from any website in the world. VPN technology allows internet users to protect their network. Internet crimes are happening every day over the internet. Intruders are trying to gain access to private information. VPN Stands for Virtual Private Network. This is a process of network configuration that encrypts data you send to people. This means that unauthorized figures can’t decipher the information. Intruders will think twice before trying to hack a strong network security.

Access Any Website In The World 
BBC is so popular because many of channels offer no ads. You will be able to get constant news and updates about the world. VPN services make it possible to gain access to websites that are blocked because of copyright issues. Websites like Netflix are open to the international community. Internet users will not have to pay for BBC IPlayer or Netflix but only get half of the content.  Take advantage of the full services of entertainment and news portals. Never worry about intruders trying to gain access to your private information.  UK VPN services allow internet users to travel the world and keep their subscription to their favorite websites.

Find The Best VPN Services For Your Home Or Business
It is sometimes hard to find the right service for you. There are many things to consider when purchasing this type of technology. You may have to find a service that works best with your budget. Other VPN services offer suggested makes and model of routers that are compatible with VPN services. This technology will help internet users Watch BBC Iplayer while living outside of the UK and bypass restrictions. These services are cost effective because of the many great features.  Learn more about VPN services by visiting VPN websites and get started today.


Source : techtalkafrica[dot]com