YouTube today is launching three new features designed to improve its “Premieres” experience, including trailers, themes, and live stream “pre-shows” that later redirect to the main event. Premieres, which first arrived in 2018, are designed to give creators the ability to leverage the revenue generation possibilities that come with live videos without having to actually “go live.”
Instead, Premieres allow creators to promote a scheduled video release by pointing fans to a landing page with a live chat in the sidebar, just like other live videos. This lets creators take advantage of money-making features like SuperChat, Stickers, ads, and Channel Memberships.
Thanks I’m giving for the start of the first big online season. Yes, the pandemic has put in place a gigantic move to the digital for our immediate and accelerated future. We all know how this plays out in the required state of things pre-vaccine. But there’s an undercurrent not so hidden there of a dynamic answer to my wife’s stubborn question: Where’s my Jetpack?
She’s a child of the 60s, a post-Beatles time of imploding dreams and dashed expectations. James Bond got to fly a Jetpack, but the telltale burned gasoline exhaust …
Hulu is the first major streaming platform to offer a social watching experience. And with most major league sports now being allowed to resume behind closed doors, Hulu’s combined proposition with ESPN will likely help entertain the service’s 30+ million users over the winter months.
But users have a surplus in choice of streaming services right now, so how will Hulu stay competitive?
With the help of UX expert Peter Ramsey from Built for Mars, we’re going to give Hulu an Extra Crunch UX teardown, demonstrating five ways it could improve its overall user experience. These include easy product comparisons, consistent widths, proportionate progress bars and other suggestions.
Comparing features inside packages
If your product/service has different tiers/versions, ensure that the differences between these options are obvious and easy to compare.
The fail: Hulu has four different packages, but the listed features are inconsistent between options, making it incredibly difficult to compare. Instead of using bullet points, they’ve buried the benefits within paragraphs.
The fix: Break the paragraphs down into bullet points. Then, make sure that the bullet points are worded consistently between options.
Steve O’Hear: I’m really surprised this one got past the marketing department. Not a lot to say except that I would argue that when UX, including layout and copywriting decisions, become decoupled from business goals and customer wants, a company is in trouble. Would you agree that’s what has happened here?
Peter Ramsey: Honestly, this happens all the time. I think it’s just a symptom of the designers building things that look nice, not things that work nicely. I probably raise this issue on about one-third of the private audits I do — it’s that common.
Keep a consistent width
Try to maintain a consistent page width throughout a single journey — unless there’s a major benefit to changing the width.
The fail: During the Hulu sign-up process, the page width doubles at a totally unnecessary point. This is disorienting for the user, with no obvious rationale.
The fix: Hulu has a pretty consistent first-half of their journey and then it drops the ball. I’d redesign these “extra-wide” pages to be the default width.
With one day to go to the election, our thoughts are with those who look forward to talking about something else. Difficult as it might be to imagine, there must be other things to work on. One thing that comes to mind is the impact of the virus on how we manage our days and nights in a digital environment. Mobile devices have already propelled much of the change, but the pandemic has accelerated the move to a hybrid distributed lifestyle.
The election has mandated our attention to the political situation in ways that have expanded early voting and legal efforts to slow it down. Regardless of the outcome, the pressure to adapt to this new collaborative workflow will intensify. People have already seen significant shifts from commuting to time switching in a home context. Podcasting, which had emerged from a hackerish geeky hobby in recent years, has morphed into a more commercial adjunct to mainstream media.
In the process, new formats such as newsletters and live streaming have attracted investment from companies including Spotify and Audible, related technologies like Otter (transcription), Substack, Medium, new bundles of services (Apple One) and cable network disrupters, Digital first publishers like The Recount may have started out as traditional takes on political commentary, but in the windup of the campaign they are reaching audiences via notifications rather than repetitive cable talking heads and panels.
This roll up of breaking notifications and user-controlled editorial access have major implications for the near future post-electuon, however long it takes to plow through legal challenges and the restaffing of whichever government is formed. Also impacted will be Congressional and antitrust attempts to regulate social media, and what I suspect will be a shift to private discussions and trend analysis. The interest groups and market makers that result from this realignment will offer exit strategies for companies like Twitter and YouTube where the risk of being broken up will be mitigated by powerful new business models for content creation and distribution.
By January 20th, a new influencer architecture based on notifications and live streaming will endow the media with tools it needs to lead the transition to safe, secure, hybrid digital/live events. Streaming will give new artists and entrepreneurs a platform to separate influence and impact from lossleader gatherings online, bolstered by association with food and tools delivery winners like Apple and Amazon. A similar synergy between tech companies and media advertising will be overt (Apple + and Prime) as well as implicit (the growth in Amazon search.and Twitch watch parties.)
COVID therapeutics such as Regeneron create a roadmap for these private groups to reorganize as CostCo-like next wave restaurants, entertainment events, and political efforts to consolidate economic power. With a combination of transparency and what could be called reverse boycotts, customers will align with products and companies who promote values-based association with stakeholders acrosss the spectrum.
Central to the relationship is providing ethical access to important data in return for clear guidelines for the use of that data at scale. If this election has been correctly assessed as signaling a massive change in the electorate, the period of deescalation from the pandemic can foster a sense of ownership of that success by the incoming majority. Notification-based entertainers such as Sarah Cooper and more mainstream projects like Matthew McConaughey’s new book, Greenlights, speak initially to the Zoom home/work crowd, and soon to the formation of new studios and networks.
Who really knows how this transformation is playing out given the terrible consequences of Trump’s impact on our country and its standing in the world. But the generation that followed the Greatest Generation is discovering it has more to it than the free love of rock and roll and following our bliss. That same generation ushered in the technology and media revolutions.
Now we’re suffering the backlash of so-called free software where our data is the real product, where Big Brother is extending power by acquihires and preemptive pivots. Yet still our democracy persists. Time to count the vote.
Apple is today rolling out an update to its video creation app, Clips, which brings much-needed support for vertical videos, allowing for sharing to TikTok and the “Stories” feature in other social apps. The addition is one of several arriving with the release of Clips 3.0, which also introduces support for horizontal video, as well as HDR for iPhone 12 users, along with other smaller changes, like new stickers, sounds and posters, for example.
Apple’s Clips was first launched in 2017 with an eye on being a first stop for video creation before publishing to Instagram. But the app’s support for only square-formatted video has since become outdated. Casual social videos today are often now published to newer video-centric social media networks, like TikTok and its short-form rivals, including Triller, Dubsmash, Instagram Reels, and others.
Meanwhile, Stories — like those found on Instagram, Facebook, Snapchat, Pinterest and soon, Twitter — have become a key way that today’s users publish content to social media.
Apple, in fact, says that support for vertical video had become its No. 1 request from users since Clips launched.
Clips 3.0 introduces supports both 16:9 and 4:3 aspect ratios, in addition to the square format. When the app is opened on iPad, it will default to the landscape format, which can be particularly useful in educational scenarios where teachers are using the app in the classrooms with students.
On iPad, Clips users can also interact with the app when their iPad is in a case, like Magic Keyboard for iPad and others. It also supports use with a mouse or trackpad, and allowing users to write text in text fields using Apple Pencil.
Image Credits: Apple
The new app will also now support recording HDR video footage with the rear-facing camera on iPhone 12 and iPhone 12 Pro.
Clips’ overall user interface has been refreshed, too. You’ll notice a redesigned record screen that floats on top of the viewer when shooting vertically or horizontally, which could help to address some user complaints of the app feeling “slow.”
Users will also be able to more easily view and access the various Effects options, their Clips Projects and other media.
The tweaks to the user interface also feel a bit like a nod to TikTok. For example, you can now swipe up on the Effects to see a full-height card that shows you the available stickers and text labels to add to your videos. This format of a pop-up card filled with effects is similar to TikTok — though there it’s opened with a button tap and not a gesture.
Image Credits: Apple
The update also brings more content options, including 8 new social stickers (like “Sound On” for Instagram Stories), 24 new royalty-free soundtracks (bringing the total library to 100), and 6 new arrows and shapes. From the new Media browser in Clips, you can pull in your own photos and videos or toggle over to a Posters section to pick from 70 customizable, animated full-screen title cards that can be added to your video.
There are also updated filters, Live Titles and Selfie scenes available.
When your project is complete, you can easily share the resulting video to social networks from an updated sharing screen that includes quick access to destinations like Instagram, YouTube, TikTok, Twitter and Snapchat, in addition to standard options like iMessage or saving the file locally.
Though Clips hasn’t had as much attention as some of Apple’s other apps — its last update was 6 months ago, for instance — it has gained a following. Apple says that users create “millions” of Clips projects per day, and it sees higher usage in the U.S., U.K., and China.
This year, Clips usage increased by 30%, Apple noted — a change that could have been brought about by the shift to virtual schooling which saw teachers in need of tools for creating digital content.
With its expanded focus on vertical video, Clips has the potential to reach a much broader audience.
Today, many users prep videos for Stories or TikTok on third-party apps, like InShot, Prequel, Splice, PicCollage, Canva, VSCO, Funimate, KineMaster, Magisto, CapCut and others topping the App Store charts. But Clips, until now, couldn’t compete because it didn’t include vertical video support at all.
The new version of Clips is rolling out today to users worldwide.
Not just the future of civilization is up for grabs this November. In this age of mobile social computing, we’re figuring out how to vote, entertain, teach, learn, and commit to meaningful change. Thanks to the pandemic emergency, our plans for transforming our country and planet are subject to immediate recall.
Much of the current political dynamic is expressed through the lense of “how much change can we afford to make?” The swing states in the race for the electoral college are those most profoundly affected by the transition from fossil fuel to renewable energy. The choice: how many jobs will we lose by shifting away from oil and gas to wind and solar. Workers in Pennsylvania, Ohio, Texas, and Michigan are fearful of losing their livelihood to a future of retraining and disruption.
Regardless of where we sit along the left/right spectrum, we share the increasing understanding that government doesn’t work. Running for office is a gauntlet of fundraising and promises you can’t keep; legislating is a lobbyist playground where special interests are neither special nor in our interests. The courts are overwhelmed by political power plays timed to inflame and suppress voting turnout. It’s no wonder that the common reaction to this week’s final presidential debate was relief that the campaign is almost over.
The most important fix to the body politic is the mute button. For a brief moment in the debate, we got to experience a few seconds of not talking. Time seemed to stand still, as if we were being handed down a digital tablet of things to not do: don’t interrupt, don’t disrespect, don’t mock, don’t waste our time. Above all, don’t forget the people we’ve lost to the virus. Remember the days when our biggest problems were what show to watch, what music to play, what jokes to tell. It’s amazing what you can hear when the agenda is turned back to ourselves.
In that moment, you can hear things that smooth the soul. In that moment, you can hear the words leaders will have to speak to get our vote next time. I feel much better about the next election no matter how this one turns out. The explosive numbers of early voting tell us a lot about how this will go. The genie is out of the bottle and people are beginning to connect the dots. If the vote is suppressed, it only makes us try harder.
Mobility is about a return to value, to roots, to resilience. Working from home is a big step toward living from everywhere. AR stands for accelerated reality, VR for valued reality. If we want to know what social is good for, switch on the mute button and listen to what you’ve lost. If you can mute the sound, you can unmute it and find your voice.
At first, the mute button was a defensive move. It counteracted the business model of the cable news networks, the repetitive time-filling of partisan perspective mixed with not listening to the grievances of the other side. The hardest thing I’ve had to do is be open to the truth emanating from the least likely location. We are taught to attack our opponent’s weaknesses; a better strategy might be to respect their strengths and adopt them as your own. Don’t worry, though. You probably won’t find too much there to reflect.
Once you experience the mute button envelope, you can hear it even if it’s not there. The rules of the revised debate were that the first two minutes of each candidate’s response used the mute button, then the old rules returned. Even then, the experience of using the mute button informed the rest of the debate. Particularly noticeable was Joe Biden’s response to a series of back and forths when the moderator asked if he had any further response. “… … … No.”
There have been other mute buttons in history. The 18 and a half minute gap spoke loudly when Rose Mary Woods erased a crucial Watergate tape. Before that, we assumed there might be a smoking gun. After that, we knew there might be others, too. Throughout the campaign, we could learn more about what was really going on by listening for the moments when key questions were left unanswered, ducked, or bounced back to the opponent like some Pee Wee Herman playground retort.
Soon we’ll know the answer to the important question: how do we confront the virus? I vote for listening to the science, wearing a mask, socially distancing both off and online, rapid testing, and contact tracing. And the candidates who agree.
Virtual meetings are a fundamental part of how we interact with each other these days, but even when (if!?) we find better ways to mitigate the effects of COVID-19, many think that they will be here to stay. That means there is an opportunity out there to improve how they work — because let’s face it, Zoom Fatigue is real and I for one am not super excited anymore to be a part of your Team.
Mmhmm, the video presentation startup from former Evernote CEO Phil Libin with ambitions to change the conversation (literally and figuratively) about what we can do with the medium — its first efforts have included things like the ability to manipulate presentation material around your video in real time to mimic newscasts — is today announcing an acquisition as it continues to home in on a wider launch of its product, currently in a closed beta.
It has acquired Memix, an outfit out of San Francisco that has built a series of filters you can apply to videos — either pre-recorded or streaming — to change the lighting, details in the background, or across the whole of the screen, and an app that works across various video platforms to apply those filters.
Like mmhmm, Memix is today focused on building tools that you use on existing video platforms — not building a video player itself. Memix today comes in the form of a virtual camera, accessible via Windows apps for Zoom, WebEx and Microsoft Teams; or web apps like Facebook Messenger, Houseparty and others that run on Chrome, Edge and Firefox.
Libin said in an interview that the plan will be to keep that virtual camera operating as is while it works on integrating the filters and Memix’s technology into mmhmm, while also laying the groundwork for building more on top of the platform.
Libin’s view is that while there are already a lot of video products and users in the market today, we are just at the start of it all, with technology and our expectations changing rapidly. We are shifting, he said, from wanting to reproduce existing experiences (like meetings) to creating completely new ones that might actually be better.
“There is a profound change in the world that we are just at the beginning of,” he said in an interview. “The main thing is that everything is hybrid. If you imagine all the experiences we can have, from in-person to online, or recorded to live, up to now almost everything in life fit neatly into one of those quadrants. The boundaries were fixed. Now all these boundaries have melted away we can rebuild every experience to be natively hybrid. This is a monumental change.”
That is a concept that the Memix founders have not just been thinking about, but also building the software to make it a reality.
“There is a lot to do,” said Pol Jeremias-Vila, one of the co-founders. “One of our ideas was to try to provide people who do streaming professionally an alternative to the really complicated set-ups you currently use,” which can involve expensive cameras, lights, microphones, stands and more. “Can we bring that to a user just with a couple of clicks? What can be done to put the same kind of tech you get with all that hardware into the hands of a massive audience?”
Memix’s team of two — co-founders Inigo Quilez and Pol Jeremias-Vila, Spaniards who met not in Spain but the Bay Area — are not coming on board full-time, but they will be helping with the transition and integration of the tech.
Libin said that he first became aware of Quilez from a YouTube video he’d posted on “The principles of painting with maths”, but that doesn’t give a lot away about the two co-founders. They are in reality graphic engineering whizzes, with Jeremias-Vila currently the lead graphics software engineer at Pixar, and Quilez until last year a product manager and lead engineer at Facebook, where he created, among other things, the Quill VR animation and production tool for Oculus.
Because working the kind of hours that people put in at tech companies wasn’t quite enough time to work on graphics applications, the pair started another effort called Beauty Pi (not to be confused with Beauty Pie), which has become a home for various collaborations between the two that had nothing to do with their day jobs. Memix had been bootstrapped by the pair as a project built out of that. Other efforts have included Shadertoy, a community and platform for creating Shaders (a computer program created to shade in 3D scenes).
That background of Memix points to an interesting opportunity in the world of video right now. In part because of all the focus (sorry not sorry!) on video right now as a medium because of our current pandemic circumstances, but also because of the advances in broadband, devices, apps and video technology, we’re seeing a huge proliferation of startups building interesting variations and improvements on the basic concept of video streaming.
Just in the area of videoconferencing alone, some of the hopefuls have included Headroom, which launched the other week with a really interesting AI-based approach to helping its users get more meaningful notes from meetings, and using computer vision to help presenters “read the room” better by detecting if people are getting bored, annoyed and more.
Vowel is also bringing a new set of tools not just to annotate meetings and their corresponding transcriptions in a better way, but to then be able to search across all your sessions to follow up items and dig into what people said over multiple events.
And Descript, which originally built a tool to edit audio tracks, earlier this week launched a video component, letting users edit visuals and what you say in those moving pictures, by cutting, pasting and rewriting a word-based document transcribing the sound from that video. All of these have obvious B2B angles, like mmhmm, and they are just the tip of the iceberg.
Indeed, the huge amount of IP out there is interesting in itself. Yet the jury is still out on where all of it would best live and thrive as the space continues to evolve, with more defined business models (and leading companies) only now emerging.
That presents an interesting opportunity not just for the biggies like Zoom, Google and Microsoft, but also players who are building entirely new platforms from the ground up.
Mmhmm is a notable company in that context. Not only does it have the reputation and inspiration of Libin behind it — a force powerful enough that even his foray into the ill-fated world of chatbots got headlines — but it’s also backed by the likes of Sequoia, which led a $21 million round earlier this month.
Libin said he doesn’t like to think of his startup as a consolidator, or the industry in a consolidation play, as that implies a degree of maturity in an area that he still feels is just getting started.
“We’re looking at this not so much as consolidation, which to me means market share,” he said. “Our main criteria is that we wanted to work with teams that we are in love with.”
On this edition of the Gillmor Gang, the live recording session was briefly interrupted by a rolling upgrade from Zoom. We’ve been using Zoom to virtualize what we’ve been doing for years with a combination of video switching hardware (Newtek’s TriCaster), a bunch of Mac Minis hosting Skype, an audio mixing board, and a backchannel pushing the switched Program Out to the members of the group. At first, we partnered with Leo Laporte on his fledgling video network. Subsequently, I copied Leo’s early studio setup to make the transition to streaming.
At that point, streaming was an emergent model. No Netflix, no Facebook Live, certainly no transition from RSS and podcasting to what we see now as Streaming From Home is adopted. Not just by the technocrati but mainstream cable networks, the remnants of broadcast television, and commercial streaming networks like Hulu, Amazon Prime, Disney +, and even Apple TV +. Cable news uses a version of our studio model to bring together roundtables where even the hosts are using Zoom’s background replacement feature or the like to simulate their usual broadcast locations. The 4 or 5 second delay over TCP/IP gives away the tech, but just as with the smaller delay we’ve gotten used to with the translation from landline to satellite and now to cell service, we accommodate this seeming lack of attention being paid.
There are limitations with this new virtualized studio, but with a great deal of tweaking, the relative ease of onboarding Zoom offers, and the ubiquity of use that the pandemic has mandated, a new experience has emerged with recording the show. It’s more relaxed, a subtle hybrid of a “show” and a conversation among friends. As I’ve mentioned before, we use a multi-streaming service called Restream to do just that with the edited Zoom feed to broadcast the live session on Facebook Live, Twitter/Periscope, and via an embedded YouTube window, to our newsletter feed on Telegram. After postproduction, we release an edited, sweetened, titled version on TechCrunch.
From the beginning of the Gang, back in 2004 when it was an audio production only, we leveraged an early social network called FriendFeed, to engage listeners in a realtime chat. FriendFeed was essentially a blend of Facebook and Twitter, so much so that Facebook ultimately acquired the startup and made co-founder Bret Taylor CTO. Those playing along at home might recognize Bret now as President and COO of Salesforce, where he went after his next startup, Quip, was acquired. The FriendFeed backchannel lasted for a few years, opensourced at the time but eventually shut down by Facebook.
To explain the magic of the backchannel, I refer you to a book by an old friend, Harvey Brooks, bass player and right-place-right time musician who recorded with a dazzling set of greats from Miles Davis to the seminal first stop on his journey, Bob Dylan. In an age without liner notes, he’s a living example of the magic of producing the right notes at the moment of creation in the studio. With Dylan, that moment came in the recording of Dylan’s first fully electric record, Highway 61 Revisited. He’d just recorded the single Like A Rolling Stone when Harvey was recommended by his friend Al Kooper, who had famously sat down in front of an organ he’d never played before and survived Dylan’s recording process.
Dylan would run down a song with the musicians a couple of times and then begin recording. The players would glean the structure of the song by watching the artist’s hands; Harvey quickly made notes of the chords in the first couple of run throughs. Then it was off to the races with tape rolling. Often that first take would be the keeper. To break it down further, my analogy would be that this was Dylan’s version of the backchannel, where each player’s intuitive feel would be communicated not just to Dylan but to the other musicians, who often were strangers to each other as well.
In recording the Gang, the trick if you will is to capture that moment between the first time you hear something to the time where other takes don’t improve on that spark of creation. A later take may be more studied and practiced, but it may lose that magic of the spark. In the case of the conversation, it’s not quite an improvisation, but what takes it somewhere else is the backchannel, where we all live and communicate between sessions. It’s not quite a newsletter, where the goal (or at least my goal) is to provide stepping stones between rocks in the stream and not the pebbles that form the rush of news and attitude that overwhelms us.
These days Trumpstock is everywhere, not to be avoided but necessary to be survived. Then there are the glimmers of tech, like the media story about Disney’s reorganization around streaming. The ripple effects of surviving the pandemic’s direct hit on Disney’s park revenue and the need to shift investment to Disney + content production are a major signal of where winners are going to emerge in the entertainment industry’s move to a direct relationship with consumers. The backchannel is a powerful tool for giving us direct access to the underlying information required to make strategic decisions about where and how we live as we recover.
Sometimes the winging-it approach bears fruit; sometimes it crashes and burns as elements of this loosely-coupled cloud mashup unexpectedly shift. In this case, our carefully constructed production flow broke down just as we went live. It took some time and a restart to regroup, and a post show debugging to figure out what had changed in a Zoom autoupdate. This is the process. It’s not perfect, but it works when it works. When it doesn’t, it gets better. Join us on the backchannel.
The Gillmor Gang — Frank Radice, Michael Markman, Keith Teare, Denis Pombriant, Brent Leary, and Steve Gillmor. Recorded live Friday, October 9, 2020.
Produced and directed by Tina Chase Gillmor @tinagillmor