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Main article: Video

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Surveillance camera vulnerability could allow hackers to spy on and alter recordings

21:19 | 17 September

In newly published research, security firm Tenable reveals how popular video surveillance camera software could be manipulated, allowing would-be attackers the ability to view, disable or otherwise manipulate video footage.

The vulnerability, which researchers fittingly dubbed “Peekaboo,” affects software created by NUUO, a surveillance system software maker with clients including hospitals, banks, and schools around the globe.

The vulnerability works via a stack buffer overflow, overwhelming the targeted software and opening the door for remote code execution. That loophole means that an attacker could remotely access and take over accounts with no authorization, even taking over networked cameras connected to the target device.

“This is particularly devastating because not only is an attacker able to control the NVR [camera] but the credentials for all the cameras connected to the NVR are stored in plaintext on disk,” Tenable writes.

Tenable provides more details on potential exploits tested with one of NUUO’s NVRMini2 devices on its Github page. One exploit “grabs the credentials to the cameras that are connected to the NVR, creates a hidden admin user, and disconnects any cameras that are currently connected to the NVR.” Not great.

Tenable set its disclosure to NUUO in motion on June 1. NUUO committed to a September 13 patch date to fix the issue but the date was later pushed to September 18, when anyone with affected equipment can expect to see firmware version Organizations that might be vulnerable can use a plugin from the researchers to determine if they’re at risk or contact the manufacturer directly. TechCrunch reached out to NUUO about its plans to push a patch and notify affected users.

What what makes matters worse with this vulnerability is that NUUO actually licenses its software out to at least 100 other brands and 2,500 camera models. Tenable estimates that the vulnerability could put hundreds of thousands of networked surveillance cameras at risk around the world and many of the groups that operate those devices might have no idea that the risk is even relevant to the systems they rely on.



MasterClass is mastering scale as a media business

04:17 | 12 September

MasterClass’ $80M Series D announced last week marks a triumph in validating the potential venture-scale of content businesses in an era when many are founded with equal parts tech and media DNA.

The platform for online video courses on topics from film directing to tennis taught by iconic figures in each field (like Martin Scorsese and Serena Williams) launched in 2015 and has raised $160M from top VC firms like IVP, NEA, and Atomico while gaining brand recognition among millions of Americans. Neither education nor content startups have been particularly hot spaces for Silicon Valley investors over the last few years, so Masterclass’ breakout status calls attention to its strategy.

High-quality original content cuts above the noise

Due to the user inputs of subscription streaming services, a platform focused on its own high-quality original content can gain an advantage against the crowded field of quantity-over-quality competitors in monetization and defensibility while still achieving scale.

It’s a common tech industry mistake to treat all content the same – to focus on the engineering challenges of a platform but not enough on the creative challenges of captivating users (the classic Silicon Valley versus Hollywood cultural divide). Netflix’s current position as the dominant force in global film/TV stemmed from its own evolution from solely aggregating third-party content to aggressively investing in its own Originals.

From the start, MasterClass has taken a different path from other startups in the online courses segment of media (often called MOOCs, or massively open online courses) by specializing in capital-intensive, high-production-quality video series with the biggest names. Like a small film studio, much of its $1.9M in seed funding was used on recruiting the initial talent (Dustin Hoffman) and producing their first class (on acting).

Similar to starting a company in an industrial or highly regulated industry, starting a media startup focused on high-quality productions is capital intensive. But if the entrepreneur’s thesis is right and execution is strong, those big upfront investments can lock in competitive advantage. True in the case of MasterClass, they sold 30,000 course sign-ups within four months of launching.

Quality lets you build big franchises, makes it easier to attract the top creative talent while giving up less economics, and makes the business the center of gravity within its market such that consumers naturally choose it over any competitor as the main service to subscribe to…there’s just enough must-see content to keep coming back to.

This is the driving force behind the recent acquisitions of top studios and TV conglomerates like 21st Century Fox and Time Warner by companies who have a distribution platform they want to defend against Netflix (and it’s why Netflix is willing to strike nine-figure deals to lock in Hollywood’s top producers to years of creating Netflix Originals as Disney and others launch competitors). Once they have hit critical mass, it’s very tough to directly compete with such businesses even when you’ve billions to spend like Disney does.

The ROI of investing in top talent

MasterClass’ focus on bringing in top talent creates a positive cycle between viewers and the company. (Image from MasterClass)

When it comes to the educational content sector, quality doesn’t just mean production budget and storytelling ability. There’s a categorical difference between learning a skill from the very best talent in a field versus learning it from a wider class of practitioners who are just good or great. The very best typically have a fundamentally different approach. Consumers recognize this, and they also struggle to evaluate the value of courses taught by people they haven’t heard of. If educational content from the biggest VIPs can be accessed for a price point within grasp, it’s the sensible economic decision.

This dynamic drives word of mouth marketing for MasterClass courses (“My screenwriting class is taught by Shonda Rhimes!”), accelerated by the large social media followings of the instructors and the free publicity their course generates in the news. Whether it’s music, gaming, television, and book publishing, media is a hits-driven business and the reason the biggest names command big paydays is because they can deliver outlier value.

By comparison, other VC-backed MOOCs (like Coursera, Udemy, Udacity, and others) focused on the quantity of courses over the quality of courses, resulting in large libraries of lower production quality videos from less well-known instructors that may be helpful, but struggle to stand out from other resources online. Nearly all the MOOCs pivoted as a result: first from pitching their content to pitching consumers on the certification they could get for completing all the content, and then a second time in switching focus to sell to corporates (for internal training and employees’ continuing education) because MOOC credentials weren’t gaining mainstream respect fast enough.

You have to be the most trusted brand to win as a premium subscription

Describing MasterClass as merely “celebrity courses” misses the point. By anchoring in big-budget, carefully produced video series – which includes only partnering with the biggest names in a field – they are building consumer confidence that their future offerings will all meet the same standard – the sort of trust Pixar built by starting slowly with a steady stream of high-quality, big budget animated films.

With a direct-to-consumer streaming platform, this trust for the underlying brand opens the door to a payment model that reflects it: a premium subscription. MasterClass is already moving beyond selling access to individual courses: 80% of revenue now comes from users paying a $180/year all-access subscription. The company looks ever less like a MOOC and more like a Netflix-style SVOD (subscription video on demand) platform for educational video series.

MasterClass launched with just three courses, and still has only 39, but the financial impact of each course is substantial. CEO David Rogier told TechCrunch’s Kate Clark last week that the company’s revenues were just shy of the leading MOOCs, Udacity and Coursera, which are understood to be in the $70-100M range. The MasterClass video library will have a longer shelf-life than educational videos from unknown names as well: people two decades from now will still care how Werner Herzog thought about film directing techniques and how Marc Jacobs thought about fashion design even if technology and culture have changed dramatically.

It is worth noting by comparison that while Netflix is spending more than ever on content – a whopping $13 billion this year – its library is shrinking substantially, not expanding. It too is anchoring itself in better content – expensive, must-have original shows instead of licensed re-runs from other networks – because it’s the exclusive, must-see shows that make consumers consider it the must-have subscription.

Each subscriber makes a streaming service stronger

The more subscribers who sign up for must-see content by the celebrities they look up to, the more MasterClass can invest in the next slate of courses to ensure more hits, and the more data it collects on user engagement to improve their productions. This dynamic can give direct-to-consumer streaming services network effects…each additional user’s data marginally enhances the experience of every user, and the more active they are, the more personalized their experience can become.

The data MasterClass, Netflix, and other SVOD services collect from users informs their understanding of the elements that constitute a hit show and enable them to more wisely allocate resources, tripling down on what works best while cutting investment in what doesn’t. This feedback loop empowers them to grow faster than competitors can keep up.

Neither Netflix nor schooling: the edutainment market is open

The key strategy question in the educational content space is often whether to expand deeper or broader. MasterClass offers quality in terms of talent and production value but has made big investments into adding introductory courses across a wider range of skills from a wider range of VIPs rather than creating more advanced course material for users to keep progressing in one skill area. MasterClass sparks users’ interest and gives them an insightful grounding, but it’s not a training program to advance people already pursuing that skill professionally.

Going far deeper into topics with a world famous instructor could be just as, if not more, lucrative but the dramatic differences in the right user experience and price point for each niche – think bike racing tactics versus hedge fund investing strategies – make it unlikely this can be pulled off effectively by one platform.

Such a strategy does present opportunity to prestigious digital media brands though (whether it’s The Financial Times in finance, Vogue in fashion, or Billboard in music); they could leverage their prestige in a given niche to partner with the biggest VIPs and craft premium-priced, best-in-class courses for practitioners (perhaps with a credential that carries weight due to the brand recognition and brand prestige of the media company).

Where MasterClass is gaining traction is in targeting a mass audience of more casual learners, and it is succeeding at getting them to pay a substantial price by the standards of media or consumer internet platforms. It is operating in a territory that offers people more concrete learning (and more interactivity) than a Netflix documentary while not being so specialized as to be a professional course. It may go a level deeper than it has thus far, but it doesn’t seem to be targeting the opportunity to be an in-depth online course provider.

What MasterClass is becoming is a Netflix for “edutainment” – a media company native to the SVOD era that could own the turf Discovery Inc. seized in the cable era.  By expanding across interest areas and regularly collaborating with icons who appeal to different demographics, they may build the must-have subscription of interactive video series for humans’ wide-ranging intellectual curiosity.



Instagram confirms it’s testing video tagging with a percentage of users

20:45 | 10 September

Instagram is testing a way to allow users to tag their friends in their video posts, not just in photos, TechCrunch has learned and the company confirmed. The option works similarly to tagging photos, but instead of pressing the small icon at the bottom left to see the list of tagged names appear over top of the content – something that would be more difficult with videos – the button links to a list of tagged people.

When you tap this button, you’re directed to a new page titled “People in this Video” with all the Instagram users who have either appeared in the video, or who the original poster wants to alert in some way.

As far as we can tell, these videos don’t also copy over to the tagged users’ profiles, where tagged photos typically appear today. But that could come further down the road.

Video tagging is also not appearing on the web version of Instagram at present, only on mobile.

Instagram didn’t want to share much information about the test, nor discuss its plans for a larger rollout of the feature – which is currently unsupported for anyone who hasn’t been opted in to the test by the company.

However, it would say that the experiment is underway right now with a “small percentage” of Instagram’s users.

“We’re always testing ways to improve the experience on Instagram and bring you closer to the people and things you love,” a spokesperson confirmed, in a statement.

Above: video tagging spotted on Instagram account @cablegirlsrd

Instagram has offered photo tagging since 2013, and later rolled out support for things like tagging products and tagging friends in Stories. But although video sharing arrived on the platform in June 2013, Instagram has yet to introduce a way for users to properly tag their friends. Rather, its FAQ suggests that users should mention friends in a comment so they’ll get a notification.

That may have been sufficient for some time, but video is a more critical aspect to Instagram’s platform these days, especially as it explores how to enable better video discovery through its user interface, direct people to its newest product, IGTV, and connect larger groups together in video chat sessions.

Tagging videos, then is an obvious, if long past due, next step – and one that can drive increased engagement as the tagged users relaunch the app following their notifications.

The feature could also make way for shoppable videos, not just photos, and allow Instagram influencers to post videos of their favorite products and places, while pointing fans to those brands’ own Instagram accounts in a more structured fashion than is possible today.





Interview with Priscilla Chan: Her super-donor origin story

19:02 | 9 September

Priscilla Chan is so much more than Mark Zuckerberg’s wife. A teacher, doctor, and now one of the world’s top philanthropists, she’s a dexterous empath determined to help. We’ve all heard Facebook’s dorm-room origin story, but Chan’s epiphany of impact came on a playground.

In this touching interview this week at TechCrunch Disrupt SF, Chan reveals how a child too embarrassed to go to class because of their broken front teeth inspired her to tackle healthcare. “How could I have prevented it? Who hurt her? And has she gotten healthcare, has she gotten the right dental care to prevent infection and treat pain? That moment compelled me, like, ‘I need more skills to fight these problems.'”

That’s led to a $3 billion pledge towards curing all disease from the Chan Zuckerberg Initiative’s $45 billion-plus charitable foundation. Constantly expressing gratitude for being lifted out of the struggle of her refugee parents, she says “I knew there were so many more deserving children and I got lucky”.

Here, Chan shares her vision for cause-based philanthropy designed to bring equity of opportunity to the underserved, especially in Facebook’s backyard in The Bay. She defends CZI’s apolitical approach, making allies across the aisle despite the looming spectre of the Oval Office. And she reveals how she handles digital well-being and distinguishes between good and bad screen time for her young daughters Max and August. Rather than fielding questions about Mark, this was Priscilla’s time to open up about her own motivations.

Most importantly, Chan calls on us all to contribute in whatever way feels authentic. Not everyone can sign the Giving Pledge or dedicate their full-time work to worthy causes. But it’s time for tech’s rank-and-file rich to dig a little deeper. Sometimes that means applying their engineering and product skills to develop sustainable answers to big problems. Sometimes that means challenging the power structures that led to the concentration of wealth in their own hands. She concludes, “You can only try to break the rules so many times before you realize the whole system’s broken.”

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EU to move ahead with cultural quotas for streaming services

14:36 | 5 September

The European Union is set to move ahead with a plan to enforce pan-European quotas on streaming services like Amazon Prime Video and Netflix to support production of locally produced film and video content.

Roberto Viola, the European Commission’s directorate general of communication, networks, content and technology told Variety that the new rules are on track to be approved in December.

“We just need the final vote, but it’s a mere formality,” he said in an interview at the Venice Film Festival.

The proposals will require that streaming services give over at least 30% of their on-demand catalogues to original productions made in each EU country where a service is provided (individual EU Member States could choose to set the content bar even higher, at 40%).

Streaming services will also have to ensure visibility and prominence for local content — so no burying the ‘European third’ in a dingy corner of the site where no one will find it, let alone stream it.

The EU lawmakers’ intention is to stand up for cultural diversity against the might of Hollywood and the flattening power of platforms — in the latter case by making platforms invest in local content production rather than just doing the easy thing of fencing yet more Marvel superhero movies.

And, frankly, if you’ve seen one superhero movie you’ve seen them all. So the move — which will probably draw loud and hair-raising screams from U.S. commentators — is, nonetheless, A Good Thing.

It is also not at all unusual in Europe, where cultural diversity is championed and measures to protect linguistic and cultural difference are not just acceptable but the welcome norm.

On the film front, some EU countries already require cinemas screen a portion of locally content, for example.

The Commission’s revision to EU audiovisual law will go further, by bolstering local content production across the region, including by placing requirements on local broadcasters to reserve a majority of airtime for European content. And also by requiring that streaming services actively promote EU works.

Hollywood + platform power is now a force so very mighty that cultural difference risks being steamrollered before it until nothing but tedious superhero tropes remain.

At least without proactive policy counteractions to unlock investments in creativity at a local level and not just protect but develop community voices. Ergo, the real superhero is a policy that battles the evil of cultural homogeneity and champions local light and color.

In Germany, which has already pushed ahead with content quotas on streaming services, a surcharge is added to subscription fees for the services to support a national production fund.

Netflix attempted to challenge the Commission’s support of Germany’s move to support its local film industry in the courts, arguing it countered EU law on state aid.

But in May the European General Court dismissed its appeal against the EC decision — saying its action was inadmissible as Netflix has no legal standing to challenge the decision.

We’ve reached out to Amazon and Netflix for comment on Viola’s comments.

Image credit: Trailer still from Blue is the Warmest Colour



Facebook Watch is launching worldwide

17:17 | 29 August

Facebook Watch, the social network’s home to original video content and answer to YouTube, is now becoming available worldwide. The Watch tab had first launched last August, only in the U.S., and now touts over 50 million monthly viewers who watch at least a minute of video within Watch. Since the beginning of the year, total time spent viewing videos in Watch is up by 14x, says Facebook.

The company has continued to add more social features to Watch over the past year, including participatory viewing experiences like Watch Parties, Premiers, and those with audience involvement, like an HQ Trivia competitor, Confetti, built on the new gameshow platform.

Watch also offers basic tools for discovery, saving videos for later viewing, and lets users customize a feed of videos from Facebook Pages they follow.

Along with international availability, Facebook is introducing “Ad Breaks” to more publishers. These can be either mid-roll or pre-roll ads, or images below the video. Publishers can either insert the ads themselves or use Facebook’s automated ad insertion features. Facebook says 70+ percent of mid-roll ads are viewed to completion.

Ad Breaks are now offered to creators who publish 3-minute videos that generate over 30,000 1-minute views in total over the past 2 months; who have 10,000 Facebook followers or more; who are in a supported country; and who meet other eligibility criteria.

Supported countries today include the U.S., UK, Ireland, Australia, and New Zealand. Next month, that list will expand to include Argentina, Belgium, Bolivia, Chile, Colombia, Denmark, The Dominican Republic, Ecuador, El Salvador, France, Germany, Guatemala, Honduras, Mexico, Netherlands, Norway, Peru, Portugal, Spain, Sweden, and Thailand, supporting English content and other local languages. More countries and languages will then follow.

Also new today is the global launch of Creator Studio, where Pages can manage their entire content library and business. This includes the ability to search across their library to view post-level details and insights, as well as manage interactions across Pages, Facebook Messages, comments, and Instagram. Other tools here focus on using Ad Breaks, viewing monetization and payments, and publishing the videos.

The Creator Studio is also seeing the addition of a new metric on audience retention added now, allowing publishers to better program their content.

YouTube, too, also this year launched an updated version of its Creator Studio, now called YouTube Studio, offering similar analytics for its own network.

Facebook isn’t the only one making a play for YouTube’s creators – Amazon’s Twitch has been offering deals to woo creators to its game-streaming site, a recent report claimed.

“Our goal is to provide publishers and creators with the tools they need to build a business on Facebook,” the company said in an announcement. “Facebook’s Fostering an active, engaged community and sharing longer content that viewers seek out and regularly come back to are key to finding success,” it noted.




YouTube expands its ‘digital wellbeing’ tools to track time spent watching videos

17:49 | 27 August

Google today is expanding YouTube’s set of “digital wellbeing” tools, with an added feature that will calculate how much you’re watching videos. The idea is that this will allow users to take better control over their viewing behavior and place limits on their time spent on YouTube by way of other app features that remind you to take a break. The “Time Watched” feature, rolling out today, will inform YouTube users how much they’ve watched today, yesterday, and over the past 7 days, says YouTube.

The company, along with Apple and Facebook, have more recently begun to take responsibility for the addictive nature of their devices and services which were designed to exploit vulnerabilities in human psychology, and are now facing the unintended consequences of those decisions.

At Google, the company is now addressing digital wellbeing across its products, including Android, Gmail, Google Photos, YouTube and elsewhere.

At its Google I/O developer conference earlier this year, it introduced a series of controls for YouTube viewers, including reminders to pause your viewing (“Take a Break”) and those that would disable notification sounds for periods of time, and allow you to receive notifications as a digest.

At the time, Google said it was “soon” preparing to roll out a “Time Watched” profile that will appear in the Account menu – that’s what’s new as of today.

When the feature arrives, you can visit your profile in the account menu to see your stats, including time watched over various time frames, as well as your Daily Average. This information is calculated based on your YouTube watch history, the company says.

That means if you have deleted videos from your history or watched in Incognito Mode, that viewing won’t be counted. Additionally, if you pause your history, you’ll also be unable to track your stats.

It’s unclear if YouTube TV watch history is being counted. A screenshot shared by Google today says it’s not, nor is YouTube Music. However, the answer on the YouTube Help support site Google linked to in a blog post says it is. We’ve asked Google to clarify which is correct and will update when the company responds.

Obviously counting YouTube TV, which basically equates to TV viewing, will dramatically increase users’ averages and hours spent watching, so it’s important for users to understand if that’s the case.




Nvidia’s new Turing architecture is all about real-time ray tracing and AI

02:35 | 14 August

In recent days, word about Nvidia’s new Turing architecture started leaking out of the Santa Clara-based company’s headquarters. So it didn’t come as a major surprise that the company today announced during its Siggraph keynote the launch of this new architecture and three new pro-oriented workstation graphics cards in its Quadro family.

Nvidia describes the new Turing architecture as “the greatest leap since the invention of the CUDA GPU in 2006.” That’s a high bar to clear, but there may be a kernel of truth here. These new Quadro RTx chips are the first to feature the company’s new RT Cores. “RT” here stands for ray tracing, a rendering method that basically traces the path of light as it interacts with the objects in a scene. This technique has been around for a very long time (remember POV-Ray on the Amiga?). Traditionally, though, it was always very computationally intensive, though the results tend to look far more realistic. In recent years, ray tracing got a new boost thanks to faster GPUs and support from the likes of Microsoft, which recently added ray tracing support to DirectX.

“Hybrid rendering will change the industry, opening up amazing possibilities that enhance our lives with more beautiful designs, richer entertainment and more interactive experiences,” said Nvidia CEO Jensen Huang. “The arrival of real-time ray tracing is the Holy Grail of our industry.”

The new RT cores can accelerate ray tracing by up to 25 times compared to Nvidia’s Pascal architecture, and Nvidia claims 10 GigaRays a second for the maximum performance.

Unsurprisingly, the three new Turing-based Quadro GPUs will also feature the company’s AI-centric Tensor Cores, as well as 4,608 CUDA cores that can deliver up to 16 trillion floating point operations in parallel with 16 trillion integer operations per second. The chips feature GDDR6 memory to expedite things, and support Nvidia’s NVLink technology to scale up memory capacity to up to 96GB and 100GB/s of bandwidth.

The AI part here is more important than it may seem at first. With NGX, Nvidia today also launched a new platform that aims to bring AI into the graphics pipelines. “NGX technology brings capabilities such as taking a standard camera feed and creating super slow motion like you’d get from a $100,000+ specialized camera,” the company explains, and also notes that filmmakers could use this technology to easily remove wires from photographs or replace missing pixels with the right background.

Companies ranging from Adobe (for Dimension CC) to Pixar, Siemens, Black Magic, Weta Digital, Epic Games and Autodesk have already signed up to support the new Turing architecture.

All of this power comes at a price, of course. The new Quadro RTX line starts at $2,300 for a 16GB version, while stepping up to 24GB will set you back $6,300. Double that memory to 48GB and Nvidia expects that you’ll pay about $10,000 for this high-end card.




Google launches Cameos, a video Q&A app aimed at celebs

17:20 | 9 August

Google has launched a new video-based Q&A app called Cameos on the App Store, which allows people to answer questions about themselves, then share those answers directly on Google. The app appears to be aimed at celebrities and other public figures, who are often the subject of people’s Google searches. With the Cameos app, they can address fans’ questions in their own voice, instead of leaving the answers up to other websites.

The feature is an extension of the company’s “Posts on Google” platform which has been slowly rolling out over the past couple of years, giving some people and organizations the ability to post directly to Google’s search result pages.

Initially, “Posts on Google” was open only to a small number of celebrities, sports teams and leagues, movie studios and museums. But last year, it expanded to local businesses who could then publish their events, products and services. This spring, it opened up to musicians.

Those invited to use the service have been able to post updates to Google which include text, images, video, GIFs, events, and links to other sites. In a way, it’s like Google’s version of Twitter – but with the goal of helping web searchers find answers to questions.

The new Cameos app is focused specifically on video posts.

As the App Store description explains: “Record video answers to the most asked questions on Google and then post them right to Google. Now, when people search for you, they’ll get answers directly from you.”

The app also allows celebrities using Cameos to see the top questions the internet wants answers to, so they can pick and choose which of those they want to answer. Their answers, recorded with their iPhone’s camera, will be published directly to Google search and in the Google app.

The service brings to mind Instagram’s new Q&A feature, launched this July. Via a Questions widget that’s added to an Instagram Story, users can solicit questions from their followers. The recipient can then select the questions they want to respond to, and post their replies publicly to their Instagram Story.

The feature become so popular, so quickly, that it began to dominate people’s Stories feed. There was even a


Google’s Cameo video answers could be more useful, as they’d only appear when that question was searched on Google. It would also give Google a social platform of sorts – a market it has tried to compete in for years, and is now littered with failures like Orkut, Dodgeball, Latitude, Lively, Google Wave, Google Buzz, and of course, Google+. At least with Posts, Google is focusing on what it does best: Search.

Google has been asked to comment. We’ll update if one is provided.

The Cameos app description also notes that it will add more questions for celebs to answer on a regular basis.

Access to use Cameos is only available upon invitation. Those interested can download the iOS app to request access.




U.S. adults now spend nearly 6 hours per day watching video

18:49 | 31 July

If you’ve been wondering why every major media platform has been doubling down on its video efforts in recent months, Nielsen’s new report has the answer. According to the firm’s research, U.S. adults are now spending almost 6 hours per day on video, on average. That includes time spent watching both live and time-shifted TV, watching videos in an app or mobile website on a smartphone or tablet, watching video over a TV-connected device like a DVD player, game console or internet device such as Roku, and watching videos on a computer.

That data on video viewing was collected during the first quarter of 2018 – and accounts for a sizable chunk of the 11 hours per day Americans spend listening to, watching, reading or otherwise interacting with media.

The nearly six hours of video (5:57) of video viewed daily represents an 11 minute increase in video consumption over the prior quarter, with 6 of those 11 minutes from from TV-connected devices.

Notably, traditional media platforms still account for a lot of this media consumption, with adults spending the most time on TV and radio. The former reaches 88 percent of U.S. adults on a weekly basis, and the latter reaches 92 percent.

Live and time-shifted TV, in particular, eats up the most time, with adults watching an average of 4 hours and 46 minutes per day on this type of media.

However, the research does indicate some growth in streaming TV, as evidenced by an increase in time spent on “TV-connected” devices, like game consoles, Roku, Chromecast, Amazon Fire TV, Apple TV and others. Time spent on these devices is up by 5 minutes per day to reach 40 minutes total, with 26 of those minutes devoted to internet-connected devices and 14 to game consoles.

Younger people, not surprisingly, are embracing digital platforms and internet-connected devices much more quickly than older demographics, Nielsen also notes.

Those aged 18-34 now spend 43 percent of their time consuming media on digital platforms (phones, tablets, computers), with around a third of that time taking place on smartphones. Their share of TV-connected usage (14%) is also double that of total adults (18+) and seven times as much as adults over the age of 65, the report says.

That means they’re watching a lot more TV through these devices at 1 hour, 15 minutes per day – or nearly half an hour more than the average adult.

Beyond video, Nielsen’s report also examines social media adoption. It found adults are spending an average of 45 minutes per day on social media, with the majority of that time on smartphones.

The social networks are clearly clued in to the draw of video, and have optimized for it. The new research also indicates that 64 percent of adult smartphone users who watch video on social networking sites and apps do so at least once per day. That figure is up to 72 percent for the youngest adults (18-34), Nielsen says.

The full report, available here, also delves deeper into demographics and other impacts on media consumption.


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It need to be taxed also any organic substance ie food than is used as a calorie transfer needs tax…
Peter Short

Twitter Is Testing A Dedicated GIF Button On Mobile
Peter Short
Sounds great Facebook got a button a few years ago
Then it disappeared Twitter needs a bottom maybe…
Peter Short

Apple’s Next iPhone Rumored To Debut On September 9th
Peter Short
Looks like a nice cycle of a round year;)
Peter Short

AncestryDNA And Google’s Calico Team Up To Study Genetic Longevity
Peter Short
I'm still fascinated by DNA though I favour pure chemistry what could be
Offered is for future gen…
Peter Short

U.K. Push For Better Broadband For Startups
Verg Matthews
There has to an email option icon to send to the clowns in MTNL ... the govt of India's service pro…
Verg Matthews

CrunchWeek: Apple Makes Music, Oculus Aims For Mainstream, Twitter CEO Shakeup
Peter Short
Noted Google maybe grooming Twitter as a partner in Social Media but with whistle blowing coming to…
Peter Short

CrunchWeek: Apple Makes Music, Oculus Aims For Mainstream, Twitter CEO Shakeup
Peter Short
Noted Google maybe grooming Twitter as a partner in Social Media but with whistle blowing coming to…
Peter Short