Streaming Media - December 2008/January 2009 - (Page 48)

The ULTIMATE GUIDE TO CREATING ONLINE VIDEO CONTENT THAT WORKS, PART 2 I n Part 1 of this article, we looked at the importance of understanding your audience—both existing and potential—and the different challenges facing major media companies and independent content creators. In Part 2, we’ll look at the importance of video production quality and the pros and cons of long-form and shortform content. We’ll also get some advice from successful content creators about what works and what doesn’t. By Geoff Daily “From an ESPN brand perspective, we’re always trying to maintain the highest level of quality,” says John Zehr, vice president of the emerging media group at ESPN. “We do try to achieve the same production value as what goes on TV, and we’re able to take advantage of a lot of the facilities at ESPN. But depending on the budget or time, we may take a different approach. One size doesn’t fit all.” However, he added that viewers began to take fantasy sports shows more seriously when production values were increased. “They began to feel like we were treating fantasy football like NFL Countdown, like one of our studio programs, which increased the magnitude of the content,” he says. “And as you make changes, you can see the impact they’re having on viewership.” Another emerging trend is affecting those who are now making the videos at these major media companies, according to Greg Clayman, executive vice president of digital distribution and business development for MTV Networks. “Five years ago, the people who ran the website would grab a camera and shoot something,” he says. “But as it became a bigger business for us, it really made sense to combine our production efforts on-air and online, so it’s the same thing shot on the same HD cameras by the same crew, and the same producers and directors are involved in the creation of it. So when you’re producing a show for on-air, you’re thinking about producing content for online. And I think that gives media companies a general advantage over others.” However, the benefits of producing higher-quality video aren’t relevant only to major media companies, according to Jim Louderback, CEO of Revision3. “If you’re spending The Importance of Quality Content When YouTube first burst onto the scene, it upended the traditional notion that what viewers wanted was content with the highest possible production values. Whether it is clips from old home movies or video diaries shot with a webcam, there’s been a sense that anything goes when it comes to the quality of online video. “Usually, my message is that we’re still at a point where production value doesn’t matter that much; in fact, it can hurt you if you overproduce,” says Kevin Nalty, a top YouTube producer known as Nalts. “There’s a certain level of resentment towards the people on YouTube who are trying to have the perfect shot and the perfect lighting. It suddenly makes them seem like they’re better than everyone else, and the video can come off as more commercial, more canned, and less authentic.” On the flip side, with the migration of TV shows and movies online, the highest-quality content is now generating some of the highest viewer numbers. Because of this, it’s important that the major media companies protect their TV brands by delivering high-quality video online. 48 STREAMING MEDIA December 2008/January 2009

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Streaming Media - December 2008/January 2009 Table of Contents User-Generated Politics Netflix Needs a Business Model Technology and Business Trends by the Numbers Improving Video Color Quality What Makes for Compelling Video? Game On: Bringing the NHL to IPTV Give! The New Era of Corporate Communications New Video Frontiers: Taking It Beyond the PC The HD Showdown: Codec Vendors Battle It Out for Supreme Quality The Ultimate Guide to Creating Online Video Content That Works, Part 2 Planning for Webcasting Success: Considerations for Deploying an Enterprise Video Communications Platform All Mobile Devices Are Not the Same Datmedia Datpresenter LSI Tarari Encoder Accelerator LCPX-6140 Gomez Active Streaming XF Transcoding for Global Reach Executive Visions 2009 The Revolution Is Being Televised

Streaming Media - December 2008/January 2009

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