Apple dropped some new kit this morning – a red iPhone, a better iPad (non-Pro), and some watch bands.
Oh, and a social video making app:
Apple today introduced Clips, a new app that makes it quick and fun for anyone to create expressive videos on iPhone® and iPad®. The app features a unique design for combining video clips, photos and music into great-looking videos to share with friends through the Messages app, or on Instagram, Facebook and other popular social networks.
One interesting touch for mojos on the go:
With Live Titles in Clips, users can add animated captions and titles using just their voice. Captions are generated automatically as a user speaks, and appear on screen perfectly synced with the user’s voice. Users can mix and match different styles, and tap any title to adjust text and punctuation, or even add inline emoji. Live Titles supports 36 different languages.
It’s not available to download quite yet – it will be out in April. But it looks like it could be a very handy tools for journalists working on social video quickly from the field. Look for a full review next month.
This looks like a really handy device for both stabilising and improving the audio of your video:
BuzzFeed’s shift to video is taking hold in its U.K. operations. The digital media company is doubling the size of its London office so it can house two new studios with a particular focus on sponsor video.
The goal: to bring all video production made on behalf of U.K. advertisers in-house.
So, it’s all ads rather than editorial video – but it’s a telling sign of how important video is becoming to monetising content. And another step in Buzzfeed’s shift towards video.
Silvia Killingsworth on Instagram ads:
Today I was fed a full commercial from Karlie Kloss, which was amazing because it was just a fully produced video ad like the ones you used to see on television when you used to watch live television.
And it is:
Yup, that’s a full-on TV advert. And it’s been commissioned and shot for play on Instagram.
It seems that social networks are becoming the new TV. And in that light the latest “Twitter for sale” rumour makes sense:
Walt Disney Co. is working with a financial adviser to evaluate a possible bid for Twitter Inc., according to people familiar with the matter.
Now streaming on Twitter
Why? Because Twitter is quietly becoming a video company. Mathew Ingram:
With its resources, Disney would be able to help Twitter improve its video streaming and possibly strike new deals with other content providers. As a result of a recent acquisition, Disney owns a stake in BAMTech, the digital arm of Major League Baseball, which runs streaming services for ESPN and others, including Twitter.
As John Gruber put it:
Twitter is a media company and a publishing service, not a social network.
Increasingly I wonder exactly what is a social network in 2016. Snapchat and WhatsApp are less social networks than communication tools. Instagram is a picture sharing service with comms element. Twitter is a publishing platform. Does that just leave Facebook?
Not everyone is certain about Disney making a good partner for Twitter, though:
But if you’re going to spend $18 billion, $20 billion, $30 billion on something, you need a little bit more than “I like the dude who runs the company.”
Bear in mind that Disney acquired Marvel AND Lucasfilm AND Pixar, for $15 billion. Is Twitter really worth as much to it as those three properties put together?
I’m teaching video this year, so I can write this off against tax, right?
People often think of YouTube as social media, but it’s never really been a social network. Sure you could subscribe to a creator’s channel, but it was a very one-way, broadcast relationship.
That might be changing – a little – with the launch of YouTube Community:
The brand new Community tab on your YouTube channel gives you a new, simple way to engage with your viewers and express yourself beyond video. Now you can do things like text, live videos, images, animated GIFs and more, giving you easier, lightweight ways to engage with your fans more often in between uploads, in real time. Viewers will be able to see your posts in the Subscriptions feed on their phones. They can also opt into getting a notification anytime you post.
And it looks something like this:
This feels like a defensive move from YouTube – it encourages creators to develop their audience relationship within the YouTUbe platform, rather than moving their viewers into a different platform for non-video updates. If anything, it’s a laggard response to the overwhelming success of Facebook Video, which is clearly a draw for existing and emerging creators.
Bolting on social network features to existing platforms does not have a great success rate as an idea. It remains to be seen if this will be any better. But I’m not betting on it.
…it’s hard to experiment with time-lapses when you don’t switch your lights on.
What happens when you have a video go seriously viral?
A media frenzy ensued and ultimately Kim’s video was seen by tens of millions of people around the world. A slew of news organisations sought Kim’s permission to use the footage, many of them offering money for an exclusive deal. She signed a contract with one of them, a company called ViralHog. That agreement meant that Kim was no longer deluged with direct requests for the footage – ViralHog took on the job of fielding them. It also earned Kim “tens of thousands” of dollars, she says.
Ethics get steamrollered by reality: someone will make money off the video – it might as well be the person who recorded it. But they need assistance to do so.
Buzzfeed is restructuring by splitting into entertainment and news divisions. CEO Jonah Peretti makes an interesting point:
Having a single ‘video department’ in 2016 makes about as much sense as having a ‘mobile department.’ Instead of organizing around a format or technology, we will organize our work to take full advantage of many formats and technologies.”
Video has become so prevalent in both news and entertainment, and developed so many different forms, that a single video department makes little sense any more. The language and techniques used to produce reporting dn explainer videos are very different from short comedy, or cooking clips.
In fact, it makes as little sense as having a “writing department”.
[via Emily Jane Fox, Vanity Fair]
If you’re into mobile journalism – and you probably should be – this kickstarter is worth backing:
To be clear, it’s already at three times over its target – and will probably hit four times before its done. But its a chance to get your hands on useful device pretty early.
I’ve been using the original Glif for a couple of years ago, and it is a super simple way of getting a phone onto a tripod, hugely boosting the quality of the video you can shoot. The new version is both easier to use – and more versatile. I can’t wait to get my hands on it.
Back the new Glif on Kickstarter – but you’ve only got four days to do so…