That is why Ryan Phillips decided to create a brand new product named StikiVid to assist marketers in getting that kind of video. According to the producer, StikiVid is one of the fast, easy-to-use and powerful sticky video marketing system that is launched on the market. Within a few minutes, marketers can use the software on their website to increase revenue, social engagement, and conversions.
The system is the only sticky video maker that is able to generate more video views, likes, and shares thanks to the built-in engagement features. Moreover, Stikivid helps marketers get more views, more attention, and more conversions from the same amount of traffic.
StikiVid software also works with Vimeo and YouTube so marketers can use creative commons videos as of right now and get started instantly without having any video of their own. Users can use StikiVid without having to download or install anything. There is no need for them to have a video of their own, and it would be a wise decision for those who wish to dominate mobile traffic.
StikiVid soft includes tracking tools and built-in analytics that can help users see exactly where their conversions and revenues are coming from and the way to grow them.
Total Views: This feature allows marketers to get the good overview of which videos people keep returning to, which videos are the most popular, and which videos are fading with time.
Unique views: Keeping track of their unique views is a better indicator of their conversion rates, since the software just count one person as one view regardless of how many times visitors view marketer’s content.
Banner clicks: Users can discover how their CTAs are operating by monitoring the clicks. In case users own a lot of banner displays but do not have enough clicks, all they have to do is simply change up their banners using the simple editing devices, then keep tracking to find their conversions increase.
Banner shows: Marketers are able to check how many times their banners have shown, and how well these banners are performing.
Video finishes: The app enables users to find out which videos are keeping people all the way to the end, and which are letting them go.
Video plays: Users have the ability to see how often people actually press play to watch their videos.
Video drop off: Users can easily root out poor performing videos and replace them with winners.
Stikivid is designed for those who are video marketer, and they would like to have more income and better conversions. The product is very easy to use as it only takes three simple steps to run the software. The first step begins with uploading their video to the web app, and their lightning fast servers will save their video securely. Then, users need to select their Stikivid template and choose their advertising components. After that, the software will give users a unique HTML code snippet, and show them where to paste it on their site.
« I used StikiVid on my website, it took me two minutes to set up and immediately boosted my leads and consequently increased my sales » quoted by Rob Spencer, a happy customer.
Media Contact Company Name: BeginnerDiary LTD. Contact Person: Benjamin Email: media@beginnerdiary.com Phone: +61 (08) 83691672 Address:63 Wigley Street, Sturt City: Adelaide City State: SA Country: Australia Website:BeginnerDiary.com
MANILA, Philippines — A gunman stormed a crowded Manila casino early Friday and used gasoline to set gambling tables on fire, creating clouds of smoke that killed at least 36 people, police said. The gunman fled with more than $2 million in stolen casino chips, then forced his way into a room in an adjoining hotel and killed himself.
Authorities suspect the man, who has not yet been identified, was trying to rob the casino at Resorts World Manila, a complex of hotels, restaurants, stores and a sprawling multi-floor gambling area.
“Either he lost in the casino and wanted to recoup his losses or he went totally nuts,” said Metropolitan Manila police chief Oscar Albayalde. While an Islamic State group-linked Filipino said on social media that “lone wolf soldiers” from the group were behind the attack, police noted the man didn’t shoot anyone he encountered. The only gunshot wound was a guard at the complex who accidentally shot himself, authorities said.
“He would have shot all the people gambling” if his goal was terrorism, national police chief Ronald dela Rosa said. None of the bodies had gunshots, authorities said.
Police saw no connection to nearly two weeks of fighting with Muslim militants aligned with the Islamic State group in the southern city of Marawi.
Dela Rosa said security video showed the gunman ignoring a guard who tried to question him at the complex’s entrance, then going straight to the casino. He stuffed a backpack with gambling chips, fired his assault rifle at TV screens and set gambling tables on fire by pouring gasoline onto them from a 2-liter bottle he carried, dela Rosa said. It was not clear how he smuggled the gasoline and rifle into the crowded casino.
The gunman, whom dela Rosa described as “white, with a mustache,” about 6 feet tall and English speaking, fled the gambling area and barged into a room on the 5th floor of Maxims Hotel, which is part of the Resorts complex. He lay down on the bed, covered himself with a blanket, doused himself with gasoline and then set himself on fire, dela Rosa said. He carried no identity documents, police said.
The bag of high-value gambling chips — with an estimated worth of 113 million to 130 million pesos, or more than $2 million — was found in a toilet.
The attack sent hundreds of people fleeing through the complex and into the night. A South Korean died of a possible heart attack suffered during the evacuation, the Foreign Ministry said. More than 70 people suffered mostly minor injuries in the stampede to escape.
Ronald Romualdo, a maintenance worker at Resorts World, said he and his colleagues heard gunshots and saw people smashing the windows on the second and third floors to escape.
“We took out a ladder to save them. We were able to save many of them,” he said. “But one woman I was trying to save fell from the second floor. … I could not carry her.” He said the woman was not moving after she fell, but he didn’t know what happened to her.
About 90 minutes after the attack began, Resorts World Manila said on its Facebook page that it was on lockdown following reports of gunfire and it was working to ensure the safety of guests and workers.
As news of the attack spread, President Donald Trump offered America’s thoughts and prayers to the Philippines.
“It is really very sad as to what’s going on throughout the world with terror,” he said from the White House Rose Garden. Trump said he was “closely monitoring the situation.”
The SITE Intelligence Group, a U.S. terrorism monitor, said an Islamic State group-linked Filipino operative who provides daily updates on the clashes in Marawi claimed IS “lone wolf soldiers” were responsible for the attack.
An English message by the operative was distributed across several pro-IS Telegram chat groups, SITE said. According to SITE, he wrote: “The lone wolf soldiers of Khilafah attack the heart of Kufar the city of Manila in Resort World.”
The unrest in Marawi has sparked fears that militants might attack elsewhere to divert the focus of thousands of troops trying to quell the siege. But dela Rosa said, “We cannot attribute this to terrorism without concrete evidence.”
___
Associated Press journalists Teresa Cerojano, Joeal Calupitan and Bullit Marquez contributed to this report.
___
This story has been corrected to show that the dollar value of the stolen chips was more than $2 million, not $200,000.
Copyright 2017 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.
(CNN)President Donald Trump faced a chorus of global disapproval Friday in the wake of his decision to pull the United States out of the Paris Agreement on climate change, with allies and rivals uniting to accuse him of failing future generations.
We are deeply disappointed that the United States federal government has decided to withdraw from the Paris Agreement.
iflix, a Subscription Video on Demand (SVoD) service based in Kuala Lumpur, has expanded into Africa. This comes less than two months after launching in Middle East and North Africa (MENA).
The new service will offer over 500 million consumers across the African continent access to an extensive range of highly acclaimed African shows and movies. This is in addition to films from popular film industries including Hollywood, Bollywood and Nollywood.
iflix Africa’s new office will be headquartered in Cape Town and will trade commercially as ‘iflix’. It plans to launch in Nigeria, Ghana, Kenya, Tanzania and Zimbabwe over the second and third quarters of 2017. According to iflix, this will boost its global footprint to 23 territories worldwide.
The company said it will capitalise on sub-Saharan Africa’s (SSA) large youth population, rapidly growing internet and smartphone penetration, and huge appetite for digital content and entertainment.
Mark Britt, iflix co-founder and CEO, said, “As Africa transitions from the margins to the mainstream of the global economy, there is a unique, ‘once in a generation’ opportunity to fundamentally shift the way a billion people consume and enjoy content. By 2020, Africa will have 720 million smartphone users. We aim to meet the entertainment needs of those growingly connected viewers.”
Andre de Wet, iflix head of Africa, said, “As the fastest-growing mobile market on earth, Africa is without question one of the world’s most dynamic regions. We can’t wait to tackle both the enormous opportunities and challenges ahead, in serving this incredibly diverse and exciting region.”
iflix first launched its SVoD service in May 2015, which was rolled out to 18 markets across Asia and MENA in less than two years. Currently, over one billion consumers across the two regions have access to iflix’s services. Subscribers can view video content on up to five devices anywhere, including mobile phones, tablets and television sets.
You can add Skype to the growing list of services copying features straight from Snapchat.
The Microsoft Corp communications service on Thursday announced a major redesign of its mobile app, including a « Highlights » feature that lets customers snap photos and videos that will be temporarily visible to their connections.
The feature carries a strong resemblance to Snapchat’s « Stories. » That format has been growing in popularity within social and messaging services and has recently been incorporated into Facebook Inc’s family of apps, most notably by Instagram.
Highlights is a key capability included in the revamp of Skype, which has not had a radical facelift like this since it introduced video calls in 2006. It is also the most extensive update since Microsoft purchased Skype for $8.5 billion in 2011.
Skype does not disclose exact user figures but claims to have hundreds of millions of monthly users, of which 50 percent access the service on mobile. The hope is that the combination of new features and the large existing base of Skype users will be enough of a draw to get people to use the app every day.
« What differentiates one application from the other is the network that you have, » said Amritansh Raghav, corporate vice president of Skype. « For us, we have a network on Skype, and it is the exact network that we want to grow – the personal network. »
Besides Highlights, the new Skype puts an emphasis on group messaging. Users can react to one another using emoji, they can send messages on top of attractive and colorful backgrounds or they can infuse a chat with content from third-party services, such as animated images from Giphy.
The service also features a variety of bots made by Microsoft with the purpose of helping users get more done. This includes Scoop, a bot that can fetch news of interest to an individual, and Cortana, Microsoft’s virtual assistant.
Staying true to its identity, Skype has also improved its video calling capabilities, adding the ability to send photos, stickers and emoji during calls. Over time, Skype hopes to enable users to watch videos and play games together during video calls.
Like many people, one of my first jobs growing up was in a movie theater. I spent summer 2005 sweeping up popcorn and sneaking into midday screenings of “Wedding Crashers” at an UltraStar Cinemas in San Diego. At the time, cup holders were considered fairly innovative and stadium seating was the height of luxury. Everyone still bought paper tickets at the box office, and the food menu was limited to popcorn, bad hot dogs and Junior Mints.
Today, moviegoers pay for tickets online and get their phones scanned at the door. They eat restaurant-style food and sip movie-themed cocktails in theater lounges before the films. They can even order food and wine while relaxing in their leather recliner seats.
Moviegoers have increasingly innovative and expensive options, especially in Los Angeles, a laboratory of multiplex innovation. The cinema industry is trying everything it can — motion seats, virtual reality and even competitive video gaming — to see what takes hold.
It’s a matter of survival. Cinemas need to reinvent themselves for younger audiences who aren’t going to the multiplex as much. Movie theaters sold 1.3 billion tickets in the U.S. and Canada last year, down from the recent peak of 1.6 billion in 2002, according to data from the Motion Picture Assn. of America.
“What you can get at a theater now is vastly different from five years ago,” says Eric Handler, a media analyst with MKM Partners who follows the theatrical exhibition industry. “The exhibitors finally realized people were willing to pay a premium for a higher-quality viewing experience.”
Wining and dining
The 3-year-old iPic Theaters location in Westwood revels in luxury. Going to the venue, which has a concierge-like front desk and full bar and restaurant, is more like checking into a hotel than a movie theater.
The iPic Theater in Westwood. (Luis Sinco / Los Angeles Times)
The “premium” section of the auditorium only fits six rows of seats, but that’s the trade-off for full recliners equipped with pillows and blankets, plus wide aisles for the wait staff. Each pair of seats ($58 for two) comes with a menu created by Sherry Yard, who was Wolfgang Puck’s longtime pastry chef, and a blue-light button to summon a server for wine and snacks.
Introducing food and wait service to the theatrical experience has forced companies to get creative. Smelly and crunchy dishes aren’t ideal, so instead they serve gourmet finger foods like green goddess turkey sliders, meatza pizza and tandoori chicken skewers.
Potted smoked trout spread at The Tuck Room Tavern. (Noelle Carter / Los Angeles Times)
Afterward, couples can venture to the darkly lit Tuck Room Tavern, the restaurant Yard opened a year ago. The bar features a glass tower that uses liquid nitrogen to create special cocktail flavoring.
Why the pampering?
“We’re competing with your home,” says Hamid Hashemi, CEO of Florida-based iPic Entertainment, which also operates a theater in Pasadena. “It’s really simple. If there’s a way to watch a movie and improve the experience, why not do it?”
Rivals have taken note and are also attempting to turn a trip to the movies into a more plush and boozy date night. AMC Theatres, the world’s largest cinema chain, has been rapidly adding recliner chairs and dine-in options, and recently completed renovations of two Burbank locations. The exhibition giant has opened 250 of its MacGuffins bars at its theaters, with movie-themed cocktail tie-ins, including a “Baywatch” Banana Hammock and a “Guardians of the Galaxy Vol. 2” Awesome Mix.
The U.S. division of the Mexican cinema chain Cinepolis has its own luxury theater in Westlake Village, featuring waiter service and a full bar (some Cinepolis locations also have auditoriums with play areas for kids). And Cinemark opened its Playa Vista and XD location in 2015 with a reserve level “VIP experience” for patrons to order food and drinks.
As the competition heats up, iPic is looking for ways to make its offerings even fancier. The company is introducing a new “seating pod” that creates a private cocoon around pairs of moviegoers.
The Dolby Cinema at AMC in Burbank (Dolby Laboratories)
Bigger and better
The Vine Theatre on Hollywood Boulevard, one of Los Angeles’ many single-screen theaters dating back to 1940, doesn’t look like much from the sidewalk. No movies are advertised on its marquee. But inside is a center of advanced technology and cinema innovation. Cinema tech company Dolby Laboratories gutted and remodeled the space several years ago and now uses it to show its projection and surround-sound advancements to filmmakers such as Ang Lee.
There are 72 Dolby Cinema theaters in the United States with partner AMC — L.A. locations include the AMC Burbank 16 and AMC Century City 15 — complete with laser projection and an advanced 360-degree ring of speakers wrapped around the audience.
The Vine theater showcases the latest technologies. The tour starts with Dolby’s signature “audio-visual pathway” from the lobby to the auditorium, a curved screen with projected images related to the movie the guests are about to see. As people walk into a screening of “The Lego Batman Movie,” for instance, they see animated graphics of the characters on the wall.
Once inside, Dolby executive Stuart Bowling uses a before-and-after shot of a white dot on black screen to show how the company’s laser projectors can create a true inky black color, instead of the “milky gray” people are used to seeing on the silver screen.
“It really delivers true black level for the filmmaker to deliver a more compelling image,” Bowling says. “They all have gasps, whoas, occasionally an expletive from a filmmaker.”
The Dolby Atmos surround-sound technology uses dozens of speakers on the ceilings and walls around the auditorium to simulate sounds coming from different directions.
San Francisco-based Dolby is just one of the companies using better screening technology to get people off the couch and into the theaters. If it’s size you’re looking for, go to TCL Chinese Theatre in Hollywood.
The Canadian cinema technology company Imax Corp. put its stamp on the legendary theater in 2013, installing a 94-wide screen (among the largest largest Imax theaters in North America). Later, Imax added a 4K laser projection system in what it called a “giant leap forward for cinema technology.”
Not to be outdone, the biggest theater chains, including AMC, Regal and Cinemark, are rolling out their own premium, large-format auditoriums for a more grandiose experience. Cinemark two years ago unveiled its revamped Playa Vista location, which includes a 450-seat auditorium known as XD with a giant 70-feet wide screen and a sound system that has more than 60 speakers.
Meanwhile, Belgian projector company Barco has been trying to promote its Barco Escape, an immersive three-screen format that surrounds the audience, though few movies have been designed for the experience. Regal L.A. Live, recently branded as a Barco Innovation Center, includes a Barco Escape auditorium, as does the Playa Vista Cinemark.
Williams Avelar tries virtual reality at Regal L.A. Live. (Patrick T. Fallon / For The Times)
Virtual reality
Another technological innovation that could change the movie business is the much-hyped virtual reality. Filmmakers and executives have talked up the grand possibilities of storytelling for the pricey headsets that promise an intense, immersive experience.
Many hurdles have prevented VR from going mainstream, including the high cost of the headsets, which can cost thousands of dollars each, and the lack of compelling content.
Still, Hollywood is adapting films to virtual-reality video games and designing promotional tie-ins for movies to supplement marketing efforts. Some major filmmakers are making VR a part of their toolkit. Oscar-winner Alejandro G. Iñárritu recently displayed his VR project “Carne y Arena” at the Cannes Film Festival.
And theaters have become testing grounds for VR experiments. At the Regal L.A. Live entertainment complex, a marketing team for 20th Century Fox recently roped off part of the cinema lobby and set up a row of chairs and Oculus Rift rigs. The team persuaded moviegoers wandering the lobby to strap on headsets and watch the free promotional tool “Alien: Covenant In Utero,” a two-minute, 360-degree video that lets users experience what it’s like for an alien to burst out of someone’s chest.
Universal Pictures took a different approach with its own VR tie-in for “The Mummy.” The studio teamed with Glendale-based VR seating company Positron to create virtual-reality “theaters” with rows of swiveling seats equipped with headsets. The studio’s free 10-minute VR video simulates a scene in which Tom Cruise weightlessly tries to survive in a plummeting airplane.
“This VR technology really allowed us to create content that would immerse audiences in a way that wouldn’t have been possible before,” said Austin Barker, head of creative content for Universal Pictures. “You can’t ignore its potential.”
Indeed, Imax is betting its new VR centers will become a part of the theatrical experience. During Memorial Day weekend, the company opened a virtual-reality hub in the lobby at the AMC Kips Bay in New York and has others in the works.
In L.A., Imax opened its new virtual-reality center, modeled after a video-game arcade, near the Grove shopping complex in January. Customers pay $7 to $10 for a virtual-reality experience, including games based on movies such as shoot-em-up action flick “John Wick.”
Moviegoers react to a 4D moviegoing demonstration at the Torrance headquarters of MediaMation. (Christian K. Lee / Los Angeles Times)
Motion seats
Down the hall from the “Alien” VR setup at Regal L.A. Live, moviegoers trickle into a 3:15 p.m. screening of “Guardians of the Galaxy Vol. 2” in a 4DX auditorium promising an “absolute cinema experience.” Translated, that means audience members pay $24.50 a ticket for a theater that uses moving seats, plus wind, water and odor effects, to simulate what’s happening on the screen.
The seats pull back and rumble as Drax the Destroyer takes a flying leap at an alien foe. When something explodes, simulated smoke fills the theater. The idea of 4DX, created by South Korean company CJ 4Dplex Co., is to make people feel as if they’re part of the action. It’s a bit like a Universal Studios ride.
About 18 miles south of L.A. Live, a Torrance-based company called MediaMation makes its own competing version of the motion-seat technology, called MX4D. MediaMation workers in protective goggles assemble rows of seats that they will ship across the country, and crash dummies wait to test the seats’ safety.
The company uses an on-site miniature theater to demonstrate for studio executives how their movies will be seen with its motion seating and other effects. In its version of “Mad Max: Fury Road,” moviegoers’ faces are blasted with air during a scene where a character’s face is sprayed with chrome paint.
While popular in Asia, the technology has spread slowly in the U.S., partly because of the cost. Still, MediaMation CEO Daniel Jamele says the idea is catching on with American moviegoers who want an experience that they can’t replicate in their living rooms.
“We think there’s a real market here,” Jamele said.
Video-game tournaments
Some theaters are even turning their theaters into video game centers. MediaMation is working with the TCL Chinese Theatre to retrofit one of its auditoriums for e-sports — competitive video-game tournaments where people play on the big screen.
Cinephiles may balk at the apparent sacrilege of the cinematic space, but theaters have been experimenting for years with this kind of “alternative content,” especially during weekday business hours when auditoriums are empty.
iPic and other exhibitors have been getting into the in-theater gaming business too. The company has teamed with video-gaming league Super League Gaming to host one-week Minecraft tournaments at its locations. Five-day passes for its upcoming July event cost $100.
“That’s the dream of every theater,” Jamele said. “It gives them an alternate source of income, which is what they need.”
NEW YORK, June 01, 2017 (GLOBE NEWSWIRE) — Video marketing technology company Eyeview announced today that Tom St. John, a former Criteo executive, has joined the company as Senior Vice President of Media. St. John’s more than 12 years of experience in digital marketing, building teams, software solutions, and tier-one publisher relationships will help Eyeview build best-in-class media supply and campaign management capabilities.
With the expansion of video consumption, Eyeview is delivering on the long-awaited promise of 1-to-1 video, marrying the engagement and appeal of television quality video advertising with precision targeting and personalised creative to drive sales. Eyeview has developed a highly scalable cloud based video technology that gives brands the ability to deliver thousands of creative variations tailored to reach specific target audiences, on any screen for the highest return on ad spend.
St. John most recently was Vice President, Publisher Development and Platforms at Criteo where he spearheaded the North American supply relationships for major exchange and publisher partnerships, including direct advertising integrations with tier-one publishers.
“The opportunity to join the team and build market leadership in outcome-based video marketing, a unique differentiator in the adtech space, was very attractive to me. We all know video is booming and the team at Eyeview impressed me,” said Tom St. John.
“For me, what is most exciting is that Eyeview has built a market leading position, proving that one-to-one video marketing across devices, including Facebook and addressable television, is not only achievable, but can be measured to prove sales outcomes, ” said St. John.
“As an industry we’re at a key inflection point across video advertising, and today’s marketers must prove a measured return in sales on every dollar they spend,” said Brian Pozesky, Chief Client officer, Eyeview. “Tom understands this coming from Criteo, an industry leader in performance marketing.”
About Eyeview Eyeview is a video marketing technology company and the industry leader in outcome-based video marketing. Eyeview delivers superior return on investment through 1-to-1 video.
Through proprietary VideoIQ® technology, Eyeview easily leverages brand, product and consumer data to create and deliver 1-to-1 video ads to every consumer and ultimately drive sales. VideoIQ® provides an elemental knowledge of video variables that powers a results-driven decisioning engine, capable of making billions of decisions each day, delivering the most relevant message to every consumer across television, desktop, mobile and Facebook.
Eyeview serves the nation’s top brands, including PG, Walgreens, Lowes, Honda, BMW and Priceline.
Elizabeth Wynnemer
(612) 205-3637
lwynnemer@eyeviewdigital.com
Video marketing is incredibly valuable. That’s because video, in practically every format available, can help you capture and hold the attention of your potential customers.
Did you know:
The average video post on Facebook generates 135 percent greater organic reach when compared to photo posts, according to a study by Social Bakers.
As more people reach for a mobile device to access all that the internet has to offer, there is a significant expectation that video viewing trends will continue to rise.
Instagram, Snapchat, Facebook, Pinterest, Twitter, and LinkedIn are all investing in ways for users to watch and create videos. Facebook’s expectations are so high that it now has a separate video-only feed for mobile users.
Video, both organic and paid, is still the best option to cut through the social noise.
It’s easier than ever to get more value out of your video marketing:
The expense of creating video content continues to drop.
There are tons of new apps on the market to help create video posts quickly.
Recording original video is free and relatively easy with a smartphone, a few basic skills, and a little production savvy.
All of this means we’re reached a tipping point. If you aren’t already using video to market your brand or business, you’re going to fall behind.
Live Video Opportunities
Facebook
Depending on whether you’re using your personal profile to build your personal brand or your business page, Facebook gives users the option of broadcasting from either a smartphone or a desktop computer. Broadcasting from desktop can now be done by page admins and live contributors.
If you want to invest in live video, Facebook also gives you options to use external cameras and live switching software. Learn more about using streaming software in Facebook’s Help Center.
Twitter
Twitter’s option for live broadcasting is mobile only, with the integration of Periscope. You can save the live video you captured on your phone to edit and repurpose elsewhere.
Instagram
Instagram’s live video is available in the “Story” section of Instagram. This is the option I recommend trying first if you need to build up your personal comfort level with live video. The videos are only visible while you’re broadcasting. As soon as you end the live video, it goes away.
YouTube
YouTube’s live broadcasting option is desktop only for most users. It takes a few clicks to get to the Creator Studio, but once there you can go live immediately or schedule your broadcast sometime in the future. The scheduled broadcast can be shared and embedded in advance just like any other YouTube video. It can also be viewed live on any channel where you’ve shared the link.
Along with live broadcasting, Facebook has also opened up a video-only news feed for mobile users.
All indications are that Facebook’s ad load in the main news feed is about to max out. With the limited screen size of mobile devices, the company has to find other ways to meet advertiser demand, and the mobile video feed will provide the necessary expansion of advertising opportunity.
Right now, this dedicated video feed is a great organic opportunity to grow your fan base.
Twitter, Pinterest, Instagram, LinkedIn
All of the other social networks offer video content viewing in their mobile apps.
LinkedIn is the furthest behind the pack at the moment. Video embeds from YouTube and Vimeo have been supported for a long time. Posting scheduled live YouTube events in both personal and company updates gives LinkedIn connections the ability to view the live video in the LinkedIn player. But, LinkedIn doesn’t offer a native video option.
Pinterest doesn’t support uploads of organic videos, although they have continued to invest and improve the video advertising options on the platform. They are in the process of testing auto-play video ads with brands like Visa, L’Oreal, and Toyota. For now, most Pinterest advertisers have a click-to-play promoted video option that behaves like a GIF or cinemagraph in a user’s Pinterest feed.
Instagram and Twitter offer the most organic mobile video options outside of Facebook. Short mobile-friendly recorded videos are still the mainstay of both these social channels.
Getting More for Your Investment
The problem with posting video content or creating live videos, particularly in social media, has been that people will watch but rarely engage beyond the view. Many brands and marketers find it frustrating that they succeed in holding audience attention, but don’t get any further follow-through.
Thanks to a few tools and a little savvy about creating audiences based on behavior in Facebook and Google AdWords, marketing teams can turn a passive video audience into qualified leads.
Facebook Engagement Custom Audience
Facebook has given advertisers the ability to create custom audiences based on engagement with content published to a Facebook page. In particular, you can target Facebook users based on how they watch your videos.
When you select this option to build a new custom audience, the top option is for video engagement. You’re now able to “create a list of people who have spent time watching your videos on Facebook,” and target them with related content.
You can refine that audience based on how long they spent watching your Facebook videos.
Google Remarketing to YouTube Viewers
If you link your AdWords account to your YouTube channel, you can do video remarketing. You can create campaigns that target people who have watched, liked, and/or commented on your videos, visited and/or subscribed to your channel, or any number of combinations of those factors.
Marketing teams are not limited to only showing more videos to this audience. A video remarketing audience can also be used for search and display ads.
While video is a natural for introducing consumers to a new brand or product, video is also an excellent medium for demonstrating a product, showcasing a service offering, or explaining a complicated concept.
Let’s consider a hypothetical yet practical example.
A big factor in driving an audience to a publication like Search Engine Journal is the expertise and experience that the writers and producers bring to the material. It is often necessary to demonstrate that expertise. Marketing experts could consider doing live “Ask Me Anything” style videos on Facebook, Instagram, Twitter, or YouTube.
Due to the investment of time to promote and create videos like that, we need to get more than video views out of the exercise. We need to secure traffic and possibly qualified leads.
That’s where remarketing to video viewers plays a huge role. Once someone watches an “Ask Me Anything” about social media advertising, for example, we can then retarget that audience with a promotion of the next Search Engine Nerds podcast or webinar as well as popular articles about the same topic on Facebook, in the Google Display Network, and in Google search. We take a relatively passive but highly interested audience and draw them deeper into the publication.
Since video viewing behavior creates a strong positive connection to a brand, the next time the social media audience sees branded content elsewhere on the web, the more likely they are going to feel comfortable in clicking through.
Summary
Without a doubt, video is successfully capturing the attention of mobile users. The options to turn that behavior into real business abound. How will you choose to integrate social mobile video into your marketing plans?
Image Credits
Screenshots by Michelle Stinson Ross. Taken May 2017.
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