Archives par mot-clé : video

Analyzing Rocket Fuel (FUEL) & Tremor Video (TRMR)

Rocket Fuel (NASDAQ: FUEL) and Tremor Video (NYSE:TRMR) are both small-cap computer and technology companies, but which is the better investment? We will compare the two businesses based on the strength of their dividends, profitability, valuation, analyst recommendations, earnings, risk and institutional ownership.

Institutional and Insider Ownership

33.6% of Rocket Fuel shares are held by institutional investors. Comparatively, 36.5% of Tremor Video shares are held by institutional investors. 34.9% of Rocket Fuel shares are held by insiders. Comparatively, 8.2% of Tremor Video shares are held by insiders. Strong institutional ownership is an indication that hedge funds, endowments and large money managers believe a stock is poised for long-term growth.

Analyst Ratings

This is a summary of recent ratings for Rocket Fuel and Tremor Video, as reported by MarketBeat.com.

Rocket Fuel presently has a consensus price target of $3.48, suggesting a potential upside of 33.65%. Tremor Video has a consensus price target of $3.63, suggesting a potential upside of 11.54%. Given Rocket Fuel’s higher probable upside, equities research analysts clearly believe Rocket Fuel is more favorable than Tremor Video.

Valuation and Earnings

This table compares Rocket Fuel and Tremor Video’s gross revenue, earnings per share (EPS) and valuation.

Tremor Video has higher revenue, but lower earnings than Rocket Fuel. Tremor Video is trading at a lower price-to-earnings ratio than Rocket Fuel, indicating that it is currently the more affordable of the two stocks.

Volatility and Risk

Rocket Fuel has a beta of 0.64, meaning that its stock price is 36% less volatile than the SP 500. Comparatively, Tremor Video has a beta of 1.32, meaning that its stock price is 32% more volatile than the SP 500.

Profitability

This table compares Rocket Fuel and Tremor Video’s net margins, return on equity and return on assets.

Summary

Tremor Video beats Rocket Fuel on 10 of the 13 factors compared between the two stocks.

Rocket Fuel Company Profile

Rocket Fuel Inc. is a technology company, which offers a Programmatic Marketing Platform that is designed for helping marketers and their agencies to connect with consumers through digital media. The Company’s service offerings are organized around platforms, including Data Management Platform (DMP) and Demand Side Platform (DSP), which are used by customers themselves or integrating with other customer relationship management or marketing platforms, and together in various permutations as its Programmatic Marketing Platform. The integrated platform is designed to deliver and optimize media spend to engage, upsell and retarget consumers across addressable channels, including display, mobile and video, and across addressable devices, such as tablets, set top boxes, television and mobile phones. It offers Programmatic Marketing Platform as a managed service, which it operate on behalf of its customers, and as a self-service platform operated by its customers or their agencies directly.

Tremor Video Company Profile

Tremor Video, Inc. is an advertising technology company. The Company provides software for video advertising effectiveness. The Company operates through online video advertising services segment. Its technology optimizes performance of video advertisement campaigns across all screens, including computers, smartphones, tablets and connected televisions. The Company’s buyer platform enables advertisers, agencies and other buyers of advertising to discover, buy, optimize and measure the effectiveness of their video advertisement campaigns. The Company’s technology analyzes video content, detects viewer and system attributes, and uses its repository of stored third-party data to optimize and target the delivery of advertisement campaigns. Its buyers can transact directly on its buyer platform through the Tremor Video DSP, a user interface that allows them to manage the execution of their campaigns on a programmatic basis. The Company also offers a seller platform, the Tremor Video SSP.

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Showtime! Watch Mayweather vs. McGregor ‘All Access’ episode 1, 2, 3, and 4 full video replays

The wait is over. Fight fans will finally get the chance to witness combat sports history when UFC lightweight champion Conor McGregor tangles with undefeated boxer Floyd Mayweather Jr. tonight (Sat., Aug. 26, 2017) live on Showtime pay-per-view (PPV) from inside T-Mobile Arena in Las Vegas, Nevada. It will be a can’t miss spectacle chock-full of celebrities, money belts, and unfiltered action.

The preparation and marketing put into the boxing superfight over the past two months has been absolutely staggering. From unforgettable World Tour press conferences to unscripted public scuffles, the build up to “Mayweather vs. McGregor” has delivered on countless occasions.

Adding to the madness is Showtime’s behind-the-scenes “All Access” show that has given fans an inside look at McGregor and Mayweather’s training camps leading up to tonight’s PPV clash. In case you missed any of the four episodes, Showtime recently released the full video replays (which can be seen below).

Episode 1:

Episode 2:

Episode 3:

Episode 4:

With all of the preparation and promotional efforts in the bag, the only thing left to do is fight. But if the anticipation is too much to handle, these “All Access” videos will help sooth your pre-fight combat itch.

For much more on “Mayweather vs. McGregor” be sure to hit up our comprehensive (and impressive) collection of event-related stories right here.

Art exhibit takes on new life in 360 video


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ADA – Karina Smigla Bobinski

Sweet Spot – Shawn Causey and Mark Daniell

Silhouettes by Gene Kogan

Neon Tunnel – Kitsch Nitsch

The Last Word – Illegal Art

Blooms – John Edmark







A pop-up art exhibit has debuted in San Diego, promising guests an extraordinary experience. It’s called Wonderspaces and features interactive art that people can touch and help transform.

Virtual Reality Advertising. Virtual Reality Advertising

To help viewers at home interact with the art, we’ve created a 360 video experience. Use your mouse to navigate the video clips in all directions.

 

Sixteen exhibits from artists around the country are featured at Wonderspaces. Many of the art experiences have been featured at special events like Burning Man, SXSW, Coachella and the Sundance Film Festival.

Co-founders of the startup wanted to put all the exhibits under one roof so communities could experience them.

“We think it’s an old school traveling circus. Where we set up this beautiful arts, tear it down and move on to the next city, » said Patrick Charles, one of the co-founders. “We want you to have a shared extraordinary experience where you come to our space with a friend, family, loved ones and have a different night out. »

One exhibit features a helium-filled globe spike with charcoals. It floats freely in a room, drawing on the walls.

Another exhibit called Sweet Spot is a color installation of 3,700 thin multicolor nylon cords hanging from the ceiling. Handmade by volunteers in Indianapolis, there’s a total of 19 miles of cord in the piece.  

Charles and his co-founder are Marine Corps veterans and he says their background comes in handy every day, from project planning to operations of the employees.

Wonderspaces will travel to other cities including Austin, Phoenix and Denver. 

Wonderspaces will be in San Diego until August 27, you can buy tickets online at www.wonderspaces.com.

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John Frelinghuysen, Digital Video Marketing Leader, to Serve as …

NEW YORK–(BUSINESS WIRE)–The Interactive Advertising Bureau (IAB)
has named digital marketing veteran John Frelinghuysen as the trade
group’s newest Publisher-in-Residence to tap into his insider
perspective on the digital video advertising landscape. Most recently,
Frelinghuysen served as Executive Vice President for Digital Media at
Disney/ABC Television, where he led digital product, technology,
business development, and strategy for the ABC Network, Disney Channels,
and Freeform—leveraging his deep insights into how publishers and brand
marketers can navigate fundamental shifts in consumer video viewing
behaviors to reach engaged audiences on a variety of screens and
platforms, from OTT to mobile devices.

In this new advisory capacity, Frelinghuysen will work with IAB and its
Digital Video Center of Excellence to address pressing issues and ensure
robust opportunities for advertisers and publishers in the video arena.
Today, most digital video advertising relies heavily on TV-centric
formats and creative, which risks alienating viewers and slowing growth
in ad-supported consumption and inventory. At the same time, promising
new digital ad models still lack effective standards, measurement, and
scalability. In tandem, there has been a dramatic change in consumer
viewing habits, with the majority of U.S. adults (56%) owning a
Streaming Enabled TV—a 56 percent rise from just two years ago.

Prior to joining Disney, Frelinghuysen served as Senior Vice President
of Strategy for AOL, leading corporate strategy and helping secure major
deals with Verizon, NBCU, and Microsoft, among others. Previously, as a
senior strategy consultant with Bain Company and Booz Allen Hamilton
(now Strategy), Frelinghuysen led several key initiatives for IAB,
including the launch of Making Measurement Make Sense (3MS), Building
Brands Online, and Digital Pricing Benchmarking. Frelinghuysen served
from early 2016 until recently as an IAB Board Member.

« John offers a powerful point-of-view as a premium, video-focused
publisher at Disney and at AOL, plus years of experience supporting the
IAB as a strategy consultant in driving brand advertising and
measurement improvement,” said Randall Rothenberg, President and CEO,
IAB. “We look forward to benefiting from his keen insights, analytic
skills, and ability to rally brand marketers, media buyers, publishers,
and other key stakeholders. »

“Digital video—with $9.1 billion in U.S. advertising spending in 2016
alone—is perhaps the single greatest opportunity for industry revenue
growth, and it is a privilege to team with IAB to spur the medium even
further,” said Frelinghuysen. “As both a publisher and strategy
consultant, I have been passionate about enhancing the consumer
experience and promoting new advertising and measurement models in
digital. We need to coalesce around these critical areas in order for
video to deliver on its tremendous promise.”

This marks the second time that IAB has invited an industry pioneer to
take part in its Publisher-in-Residence program. Peter Naylor, currently
Senior Vice President, Advertising Sales, Hulu, and Chairman IAB Digital
Video Center of Excellence Board, was the first to serve in this senior
advisory role in November 2013.

About IAB

The Interactive Advertising Bureau (IAB) empowers the media and
marketing industries to thrive in the digital economy. Its membership is
comprised of more than 650 leading media and technology companies that
are responsible for selling, delivering, and optimizing digital
advertising or marketing campaigns. The trade group fields critical
research on interactive advertising, while also educating brands,
agencies, and the wider business community on the importance of digital
marketing. In affiliation with the IAB Tech Lab, it develops technical
standards and best practices. IAB and the IAB Education Foundation are
committed to professional development and elevating the knowledge,
skills, expertise, and diversity of the workforce across the industry.
Through the work of its public policy office in Washington, D.C., IAB
advocates for its members and promotes the value of the interactive
advertising industry to legislators and policymakers. Founded in 1996,
the IAB is headquartered in New York City and has a San Francisco office.

Taylor Swift’s Big Week: From Rumors to a Marketing Juggernaut in Seven Days

On August 14, Taylor Swift emerged victorious from the “groping” trial that was a possible impediment to the meticulously orchestrated rollout plan for her new album, “Reputation.”

Three days later, on August 18 — one week ago today — she wiped her social media accounts clean, setting the plan into motion. Predictably, the Internet went aflutter, speculating wildly about What It All Means.

What a difference a week can make.

Seven days ago, there was no confirmation that a single, let alone an album, was even coming. Now, we’re in full Taylor overdrive mode, at the beginning of what is likely to be a two-year cycle: There’s a single out, a video and an album and a tour coming, and a sprawling marketing plan so elaborate that the number of non-disclosure agreements involved may well rival that of Beyonce’s last two albums. While it could be argued that this album’s cycle really began when Swift returned her music to all major streaming services on June 9 — which was both a refresh on her back catalog and a dig at longtime rival Katy Perry, who dropped her new album, “Witness,” at the same moment — things began in earnest last Friday. Below, we take a look at the week that was.

*Aug. 18: Swift wiped clean her Twitter, Instagram, Tumblr and Facebook accounts, which combined have approximately 250 million followers, setting the Internet alight with speculation about whether a new album is imminent. Not insignificantly, the date is also the three-year anniversary of the release of “Shake It Off” and the announcement of “1989,” the album is preceded. In retrospect, it was a symbolic gesture on any number of levels, both clearing the decks for new material to come, and — as she says in “Look What You Made Me Do” — a way of saying the old Taylor is dead.

*Aug. 21: Swift posts cryptic videos of a snake moving its tail on her social-media platforms. Later, she posts one of a snake striking. The Internet went aflutter (etc. etc.), with some observers noting that both Kim Kardashian West — whose husband, Kanye West, is another longtime Swift bete noire with whom she’s publicly sparred for years — and former beau Calvin Harris’ fans had called Swift a “snake” in the past. From there, the math isn’t hard: The snake is striking back!

*Aug: 22: Sources confirm to Variety that Swift will release new music on Friday.

*Aug. 23: Swift throws a wrench into the predictions by announcing the album, “Reputation,” its Nov. 10 release date, and posting the cover on Instagram (many had expected the announcement Friday, along with the single premiere, as she had previously). The cover, which features a mock-New York Times font and newspaper copy superimposed over Swift’s face, had at least one observer saying on Twitter, “How many Taylor Swift fans do you think have no idea that this is a newspaper?

Related

Taylor Swift Reputation

Song Review: Taylor Swift’s ‘Look What You Made Me Do’

*Aug. 24: At 11:30 p.m. ET, “Look What You Made Me Do” drops on all major streaming services and iTunes. The song, an unexpectedly dark and threatening song of revenge and finger-pointing, is widely perceived as a slam at Kanye West (It also appears to include a dig at Kanye West: “I don’t like your little games / I don’t like your tilted stage” — possibly a reference to West’s “floating stage” from his 2016 “Saint Pablo” tour). Co-written with Bleachers frontman and Lorde collaborator Jack Antonoff (and featuring an interpolation of Right Said Fred’s 1992 novelty hit “I’m Too Sexy”; unsurprisingly the group was quick to signal their approval of Swift’s song), the unconventional and definitely un-single-like song meets with a harsh reaction online and faces uncertain prospects at radio. Regardless, the song quickly shoots to No. 1 on iTunes, being downloaded nearly 100,000 times in the initial hours of availability.

Also in the press release announcing the song are details about pre-ordering the album (via deals with Target, Walmart, iTunes and Swift’s website) as well as “Taylor Swift Tix,” a promotion with Ticketmaster whereby fans set up a Ticketmaster account to get on a wait list for tickets — and can then pre-order the album, buy a T-shirt, and/or two magazines exclusively available at Target in order to accumulate points that increase their chances of getting good seats. While ostensibly a way to defeat ticket bots and ensure that actual fans get the best seats, it’s also an elaborate strategy by which fans are essentially paying — via purchases — for a better shot at prime tickets.

*Aug. 25: Swift drops a teaser for the “Look What You Made Me Do” video on “Good Morning America” and Instagram, and confirms that the video will premiere on MTV’s Video Music Awards on Sunday (which, ironically, will be hosted by Perry, which spawns even more chatter about potential awk-ward water-cooler moments on the show).

As if Swift weren’t already ubiquitous enough, UPS announces that it is “Excited to be the Official Delivery Partner of Taylor Swift’s new album! Look for #TaylorSwiftDelivery trucks” that bear the album cover artwork on the side (in a way reminiscent of the ads for Jay-Z’s “4:44” album plastered onto New York City buses all summer).

What’s next? As it says in the video teaser, “Brace for impact” …

 

 

 

 

 

 

 

 

 

 

The Eyes Have It: See Your Real Estate Business Soar By Going Visual In Your Marketing

Shutterstock

Sure, real estate has always been a visual industry. Long before high-resolution digital photos and high-definition video, people would actually go and look at a property. Of course prospective buyers still do that. But now, they begin exploring properties and narrowing their choices by visuals — specifically video — on the internet.

This is a fact agents simply can’t ignore if they plan on making a living in real estate today. All good agents also know that sales are about getting prospects to act. Videos can make people act — and when they do, they make your real estate cash register ring.

But don’t just take my word for it. Evidence is everywhere. In fact, Cisco projects that by 2021, 82% of consumer internet traffic will be due to video. What’s more, even videos that are obvious ads are attracting eyeballs. A recent Extreme Reach report indicates that viewers’ time spent watching video ads is up by 19%, and the completion rate of these ads has had a 20% spike.

So if you lack a video marketing strategy, your prospects are watching a blank screen — and people don’t spend much time doing that.

Every Wednesday I post a Tip of the Week video, about four to six minutes long that I film at my desk. Sure, at first, I felt a little odd. But just like everything else, the more you do it, the easier it becomes. One lesson I learned is to relax and just be yourself, and make it real. Sometimes the phone rings, sometimes someone walks by my window, one time the lights even went out. No big deal. Be you. Viewers today pick up on contrived and artificial efforts — the key is to be authentic.

Here are a few more tips to consider when creating your video marketing strategy to earn some serious eyeball time from prospects:

Remember the three I’s.

Before you shoot your video, remember these three words: informative, interesting and important. Why? Because there are already a lot of videos on the web, and you’ll have plenty of competition. All the top producers in real estate have received the memo: video works. In fact, customers are four times more interested in watching a video than reading for information. So, your video has to stand out with useful information.

Think of yourself as more of a teacher and educator than a salesperson. If you focus more on the quality and value of the information provided in your videos instead of just selling, you’ll make a bigger impact. That said, I do recommend a call to action with your email address, phone number and website at the end of the video.

John Frelinghuysen, Digital Video Marketing Leader, to Serve as IAB Publisher-in-Residence

NEW YORK–(BUSINESS WIRE)–The Interactive Advertising Bureau (IAB)
has named digital marketing veteran John Frelinghuysen as the trade
group’s newest Publisher-in-Residence to tap into his insider
perspective on the digital video advertising landscape. Most recently,
Frelinghuysen served as Executive Vice President for Digital Media at
Disney/ABC Television, where he led digital product, technology,
business development, and strategy for the ABC Network, Disney Channels,
and Freeform—leveraging his deep insights into how publishers and brand
marketers can navigate fundamental shifts in consumer video viewing
behaviors to reach engaged audiences on a variety of screens and
platforms, from OTT to mobile devices.

In this new advisory capacity, Frelinghuysen will work with IAB and its
Digital Video Center of Excellence to address pressing issues and ensure
robust opportunities for advertisers and publishers in the video arena.
Today, most digital video advertising relies heavily on TV-centric
formats and creative, which risks alienating viewers and slowing growth
in ad-supported consumption and inventory. At the same time, promising
new digital ad models still lack effective standards, measurement, and
scalability. In tandem, there has been a dramatic change in consumer
viewing habits, with the majority of U.S. adults (56%) owning a
Streaming Enabled TV—a 56 percent rise from just two years ago.

Prior to joining Disney, Frelinghuysen served as Senior Vice President
of Strategy for AOL, leading corporate strategy and helping secure major
deals with Verizon, NBCU, and Microsoft, among others. Previously, as a
senior strategy consultant with Bain Company and Booz Allen Hamilton
(now Strategy), Frelinghuysen led several key initiatives for IAB,
including the launch of Making Measurement Make Sense (3MS), Building
Brands Online, and Digital Pricing Benchmarking. Frelinghuysen served
from early 2016 until recently as an IAB Board Member.

« John offers a powerful point-of-view as a premium, video-focused
publisher at Disney and at AOL, plus years of experience supporting the
IAB as a strategy consultant in driving brand advertising and
measurement improvement,” said Randall Rothenberg, President and CEO,
IAB. “We look forward to benefiting from his keen insights, analytic
skills, and ability to rally brand marketers, media buyers, publishers,
and other key stakeholders. »

“Digital video—with $9.1 billion in U.S. advertising spending in 2016
alone—is perhaps the single greatest opportunity for industry revenue
growth, and it is a privilege to team with IAB to spur the medium even
further,” said Frelinghuysen. “As both a publisher and strategy
consultant, I have been passionate about enhancing the consumer
experience and promoting new advertising and measurement models in
digital. We need to coalesce around these critical areas in order for
video to deliver on its tremendous promise.”

This marks the second time that IAB has invited an industry pioneer to
take part in its Publisher-in-Residence program. Peter Naylor, currently
Senior Vice President, Advertising Sales, Hulu, and Chairman IAB Digital
Video Center of Excellence Board, was the first to serve in this senior
advisory role in November 2013.

About IAB

The Interactive Advertising Bureau (IAB) empowers the media and
marketing industries to thrive in the digital economy. Its membership is
comprised of more than 650 leading media and technology companies that
are responsible for selling, delivering, and optimizing digital
advertising or marketing campaigns. The trade group fields critical
research on interactive advertising, while also educating brands,
agencies, and the wider business community on the importance of digital
marketing. In affiliation with the IAB Tech Lab, it develops technical
standards and best practices. IAB and the IAB Education Foundation are
committed to professional development and elevating the knowledge,
skills, expertise, and diversity of the workforce across the industry.
Through the work of its public policy office in Washington, D.C., IAB
advocates for its members and promotes the value of the interactive
advertising industry to legislators and policymakers. Founded in 1996,
the IAB is headquartered in New York City and has a San Francisco office.

Here’s what to make of LinkedIn’s native video rollout

Linkedin Ranks the Highest in Digital TrustBI Intelligence

See Also

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LinkedIn launched its mobile native video uploading feature more widely after an initial phase of testing that BI Intelligence reported on last month.

Users can record video directly from the LinkedIn app, or select video from their mobile galleries. Audience insights for uploaded videos including companies, locations, and titles of viewers will be available in the dashboard section of users’ LinkedIn profiles. The new feature is gradually rolling out globally over the next few weeks.

Native video uploading cuts out the circuitous process of embedding videos from third-party platforms, which is beneficial to anyone looking to distribute video on LinkedIn. 

Making native video uploading more widely available positions LinkedIn to capitalize on the shift to video across social platforms. It also paves the way for new ad revenue and live video offerings:

  • Overall shift to video. Enabling native uploading is bound to increase the amount of video content available on LinkedIn. And the more video there is on the platform, the more its users will seek it out. Influencers and business-focused publishers like Business Insider and The Wall Street Journal could start to use LinkedIn as a main distribution platform.
  • Ad revenue opportunities. LinkedIn isn’t currently serving video ads, but doing so is a natural progression the company is evaluating, TechCrunch reports. This makes sense — by using natively uploaded videos as new ad inventory, the company would be able to increase its overall ad load without cluttering users’ feeds or profiles. LinkedIn’s 500 million members would undoubtedly entice digital advertisers to run campaigns on the platform.
  • Live video functionality is a possibility. Earlier this year, LinkedIn hired Peter Roybal, a Facebook product manager who was involved with Facebook Live, which could be an indication of the company’s interest in the live broadcasting space. There are appropriate use cases for live video on LinkedIn, such as broadcasting company recruiting information sessions, keynote speeches, and professional mentoring.

Trust is timely. In an era in which fake news is trending, and brands are pulling advertising from large publishers because they don’t want their messaging associated with offensive content, trust is a critical factor that brands consider when re-evaluating digital ad strategies.

Digital trust is the confidence people have in a platform’s ability to protect and promote the interests of its users. 

The Digital Trust Report, a brand new report from BI Intelligence, examines consumers’ perception of major social platforms. It rates Facebook, YouTube, Instagram, Twitter, Snapchat, and LinkedIn on security, community, user experience, and content authenticity and shareability. These insights help brands and marketers make informed decisions about where to spend their marketing and branding dollars.

All of the information in this survey comes from our proprietary BI Insiders panel, made up of more than 15,000 specially selected and recruited Business Insider readers. This panel is designed to be a leading indicator of what’s next in digital. The panelists are business and tech savvy, they have buying power, and they’re highly engaged. The survey revealed some fascinating insights into how millennials and decision makers view today’s most popular social media platforms.

Here are some key takeaways from the report:

  • Digital trust has been shaken by a proliferation of malicious content and data breaches, which has significant consequences for brands that use these platforms.
  • The top platform won by a huge margin on most attributes. Content on this platform is more likely to be viewed as forthright and honest, which increases the persuasiveness of ads and marketing messages that appear alongside it. This also creates ideal conditions for thought leadership and branded and sponsored content to flourish.
  • The second-ranked platform was bolstered by users’ confidence sharing content they find there. Users were most apt to share content they found there, which, together with its massive audience and high engagement, makes it the right platform to maximize reach.
  • The social platform that finished dead last did so because of its abusive comments section and extremely annoying ads. Still, this hasn’t dissuaded people from visiting, as evidenced by the time spent monthly and massive user base. This platform also resonates more with older generations.

The Digital Trust Report is only available with a subscription to BI Intelligence, Business Insider’s premium research service. To access this report, plus hundreds of other deep dives into the future of digital, click here.

Challenger Space Center 360º: The future of Robert McCall’s mural is unknown

PEORIA – While the Arizona Challenger Space Center has completed its final mission in Peoria, it is on another mission to preserve one of its largest exhibits.

Within the Center’s rotunda is a 360-degree mural painted by Robert McCall, an artist known for his depictions of space and a futuristic look at what the world might behold in the years to come.

The piece, titled « Tour of the Universe, » utilizes 27,000 square feet of canvas and took six months to install, according to the Challenger Space Center.

TAKE A FULL TOUR OF MCCALL’S MURAL IN THE 360-DEGREE VIDEO BELOW:

Virtual Reality Advertising. Virtual Reality Advertising

The four-story mural depicts the Earth’s formation from the cosmos in space to the dinosaurs and the first people on Earth, before diving into the future with imaginative bubble-shaped vehicles hovering above the ground.

In August, the space center closed its doors to the public to begin disassembling its exhibits and attractions.

It is in the process of looking for a new home after its building near 83rd Avenue and Lake Pleasant Parkway was sold.

The mural is too large and too delicate to move, said Swaymann, estimating its worth at $500,000.

She hopes the building’s new owners will preserve the mural and keep it accessible to the public.

McCall died in 2010 in Scottsdale. He was 90.

McCall reportedly worked for NASA as a visual historian. He created the logos for space missions, which were turned into patches, and has a mural displayed at the National Air and Space Museum in Washington, D.C.