MAXIMIZING VIDEO SEO IN BRIGHTCOVE GALLERY PORTALS

Scoring high in search results is critical for businesses. Enough so that many larger companies have SEO teams dedicated to ensuring that the algorithms used by Google, Bing, and other search engines treat their sites favorably.

To help our customers optimize their SEO within their video strategy, we recently added a couple of features to Gallery Portals that may significantly improve your SEO performance.

REL=CANONICAL 

If a site contains multiple pages with identical or near-identical content, it will have a negative impact on your SEO.

Unfortunately, this can happen on Gallery sites when a video lives in more than one Category. Many Gallery customers have a “Most Recent” or “Most Popular” category which highlights videos that exist elsewhere on the site. When Google sees these identical pages, it might split the SEO value between them, which dilutes the overall SEO power of that page.

To avoid any negative SEO impact, add a rel=canonical tag. This tells Google that the SEO value of a given page actually belongs to another page that I’ve identified through a tag within a page’s <head> element. It looks like this:

<a link rel="canonical" href="https://example.com/my_page.html"></a>

We’ve made this easy for you within Gallery. You can now add rel=canonical to all of your video detail pages by clicking a checkbox in the Discovery > Site Details Screen.

Gallery uses a URL structure for video detail pages with the following portions:

<a link rel="canonical" href="https://your-url.com/detail/videos/category-name/video/video-id/title-of-video.html"></a>

An actual URL might look like:

<a link rel="canonical" href="https://example.com/detail/videos/popular-videos/video/3323417749001/my-great-video"></a>

The rel=canonical tag removes the category name from the URL, so videos that live in more than one category will point to the same canonical URL.

<a link rel="canonical" href="https://example.com/detail/video/3323417749001/my-great-video"></a>

REMOVE VIDEO TITLES FROM URLS

Above you can see we added a new check box that allows the ability to remove the video titles from URLs within Gallery. This may have some SEO benefit for customers who frequently change the names of their videos. It also maybe benefit customers with lengthy titles that can make for unwieldy URLs.

There is a chance that this could have negative SEO consequences for removing video titles for URLs, so you’d only want to implement this if you’ve fully considered the potential benefit and consequences.

FINAL CONSIDERATIONS

If you have concerns about either of these features, check with an SEO expert before implementing. If you do implement these features we recommend you review your search engine traffic before the change to get a baseline, and after the change to get a sense of the impact.

IMPROVEMENTS FOR BRIGHTCOVE PLAYER V6.22

Last week, we pre-released the Brightcove Player 6.22. This version brings some useful API changes that customers and integrators may be interested in.

EXPANDED AUTOPLAY CONFIGURATIONS

As part of Video.js 7.1.0, we’ve made the autoplay configuration more powerful.

Currently, this configuration can be either true or false, which is similar to setting the autoplay attribute (or not) on the <video> element. When it’s true, the player will attempt to autoplay and, if the browser prevents it, will display the so-called Big Play Button.

However, there are cases where customers might want to improve their chances of autoplay succeeding. The expanded autoplay configuration can now accept several new string values (in addition to the existing boolean values).

ANY

Adding the configuration, {"autoplay": "any"}, will cause the player to call play() on the loadstart event. If playback fails, the player will mute itself and call play() again. If playback still fails, the previous state of muted will be restored.

This value offers the most complete solution – when non-muted autoplay is preferred, but muted autoplay is acceptable.

MUTED

Adding the configuration, {"autoplay": "muted"}, will cause the player to mute itself and then call play() on the loadstart event. If playback fails, the previous state of muted will be restored.

This value is the most likely to succeed on the first attempt – when muted autoplay is preferred.

PLAY

Finally, adding the configuration, {"autoplay": "play"}, will cause the player to call play() on the loadstart event.

This has a similar chance of succeeding as setting autoplay: true.

CATALOG PLUGIN IMPROVEMENTS

NOTE: For the time being, these features will only be available via the catalog plugin methods – not via configuration or data- attributes.

STANDARDIZING THE API

The biggest change we made to the catalog plugin is part of an effort to standardize a library API that has grown over the years to have minor inconsistencies between its methods.

The core of this effort was to add a common get() method that works for all request types and takes a single argument: a conventional catalog parameters object (described below). The get() method will return a Promise object.

For example, fetching a video with the common get() method could look like this:

// Request a video from the Playback API.
player.catalog.get({
  type: 'video',
  id: '123456789',
  adConfigId: 'abc123'
})

  // The request succeeded, load the video data into the player.
  .then(function(data) {
    player.catalog.load(data);
  })

  // The request failed.
  .catch(function(err) {
    videojs.log.error(err);
  });

Additionally, this effort includes backward-compatible changes to the pre-existing methods – getVideogetPlaylistgetSearchgetSequence, and getLazySequence. These changes are:

  • getVideogetPlaylist, and getSearch can now take a catalog parameters object as their first argument as an alternative to their current implementations.
  • The third argument to all methods, adConfigId, is now deprecated. Use a catalog parameters object with an adConfigId property instead.
  • Each method still expects a second callback argument and returns an XMLHttpRequest object. If a Promise is preferred, use the common get() method.

It’s important to note that these changes are all backward-compatible. No existing code needs to change!

For example, the above video request could still be made in the old style:

// Request a video from the Playback API.
player.catalog.getVideo('123456789', function(err, data) {

  // The request failed.
  if (err) {
    return;
  }

  // The request succeeded, load the video data into the player.
  player.catalog.load(data);
}, 'abc123');

CATALOG PARAMETERS OBJECTS

This is a convention that we hope to use as the basis for describing requests to the Playback API from the Brightcove Player going forward.

It is supported as the first argument to all get* methods.

All values should be strings.

Name Description
type The type of request to make. Must be one of 'video''playlist', or 'search'.
accountId The account ID from which to get data. This will default to the account ID of the player.
policyKey The policy key for this account. This will default to the policy key of the player.
id A video or playlist ID or reference ID prefixed by 'ref:'Required for video and playlist requests!
q A search query. Required for search requests (except where id is used in its deprecated form), ignored for others.
adConfigId A Video Could SSAI ad configuration ID.
tveToken An optional TVE token to be sent as a query string parameter.
limit Supported for playlist and search types only. Limit the number of videos returned.
offset Supported for playlist and search types only. The number of videos to skip.
sort Supported for search type only. How the videos should be sorted for searches.

NOTE: For backward-compatibility, there are two additional, deprecated uses of the id parameter. For search types, the id parameter is supported as a search query instead of q. For search types and sequences, the id parameter can contain a sub-object, which is also a catalog parameters object.

PLAYLIST LIMIT AND OFFSET

As a consequence of this standardization, we added support for limit and offset query parameters for playlists. This allows customers to implement longer playlist sizes as well as pagination through their playlists. These can be implemented in the getPlaylist() function like this:

// Request a playlist from the Playback API.
player.catalog.getPlaylist({
  id: '123456789',
  limit: '25',
  offset: '0'
}, function(err, data) {

  // If there is an error object, the request failed.
  if (err) {
    return;
  }

  // The request succeeded, load the playlist data into the player.
  player.catalog.load(data);
});

CONCLUSION

We are pretty excited about these new features in Brightcove Player 6.22. This version is currently in pre-release status, but we’ll be shipping it out to all auto-updating players very soon.

BRIGHTCOVE PRODUCT UPDATES: SPRING OF 2018

We’ve had another fantastic NAB, and we’re excited to share the latest updates from our product team. As always, these videos are designed to educate our customers about the great new features and innovations we’re developing to help you deliver amazing and profitable video experiences.

Below is an overview of all the updates highlighted in the video, along with links to additional information and documentation to help you get started:

  • SDK enhancements: Updates for tvOS and Android.
  • Player updates: 360° video support in the mobile Safari browser. Auto-play support in Chrome.
  • Improved search functionality in Video Cloud.
  • Facebook Rights Manager API integration: Currently in beta.
  • OTT Flow: DRM support for the new Chromecast receiver app.
  • Context-sensitive encryption:Quick Release” option for faster publishing.

We look forward to seeing how these updates enhance your video experiences.

Centralized management of video content across the company, ensuring reliable deadline management

CATERING TO THE HEARTS AND BODIES OF EACH AND EVERY CUSTOMER

Wacoal, which is celebrating its 70th anniversary, has renewed its corporate message to “Be more beautiful”. Having grown up with the philosophy that “women can express their beauty with pride as a sign of peace”, consumer values have become more diverse, and the “beauty” that people seek has changed to “individuality”. The message is that the company will continue to provide beauty that caters to the hearts and bodies of each and every customer.


The company has continued to work on video content. There are many cases where we want to convey information to users through video. For example, how to put on and wash underwear. In fact, “Basic knowledge of underwear” has become a popular piece of content. In addition to this, there are videos that are played in stores as promotional videos for each product, as well as TV commercials.


Kawakatsu Kazumi of the Public Relations and Advertising Department, Web and CRM Planning Section, General Planning Office, recalls, “From 2009, we started uploading these video contents to YouTube. We decided to upload all the videos we wanted to embed on our website to YouTube and embed them on our own site using tags.” “At the time, the information systems department had pointed out that uploading video files to our own server would put a strain on it, so we evaluated the fact that we could use it for free without putting a strain on our own server.”

ISSUES WITH AUTHORITY MANAGEMENT AND DEADLINE MANAGEMENT AROSE

Time passed, and the video content became higher quality, and the file size increased accordingly. Corporate security became stricter, and it became difficult to transfer files using USBs or free file transfer services. The person in charge at the company then requested that the production company be given access to the account so that they could upload the content to YouTube. After signing an NDA, the account was opened, but since YouTube does not have any permission management functions and everyone in and outside the company uses the same ID/password to log in, there was a possibility that the necessary videos could be deleted by mistake.

I was able to create this system by myself, without spending much time, and at no cost. If this system is used within the company, it should lead to cost reductions.

Kazumi Kawakatsu
Public Relations and Advertising Department, Corporate Planning Office, Wacoal Corporation

There was another major problem: the rights to use the models’ likenesses. It is common practice to sign a limited-term contract with the models appearing in video content. If the video is accidentally left online after the contract has expired, not only will additional fees be incurred, but the relationship of trust will be damaged. It is not enough to leave the management of this to the person in charge and then “forget about it”.


What makes the issue of deadline management even more complicated is the decentralized decision-making process in content production. Kawakatsu’s team is in charge of managing the company’s overall brand as the Public Relations and Advertising Department, but the promotional video content is created by the brand manager. The brand is also in charge of the contracts with the models. It was difficult to keep track of all the content within the company and manage the deadlines for each piece.


However, installing a server for video content within the company would be costly and the management burden would be heavy, while YouTube is free to use. Despite the challenges, the number of videos continued to grow. However, they were reaching their limits in terms of management. If they used YouTube for content that they wanted to strongly promote their brand with, there were times when the issue arose that another video would be displayed after playback. It was at this time that Mr. Kawakatsu learned about Brightcove. Mr. Kawakatsu says, “I heard a lecture on a case study from the same apparel industry, and I felt that it was a solution that could solve the same issues that we were facing.”

AUTOMATIC PAGE GENERATION WITH BRIGHTCOVE GALLERY

If you store videos on Brightcove Video Cloud, you can accurately manage deadlines and serve different content to different devices. Of course, you can also set permissions for the production company and other related parties, and give them their own individual IDs and passwords. For videos you want to be widely viewed, you can continue to use YouTube, but for managing that, you can use Brightcove Social. And there was also the existence of Brightcove Gallery, which makes it easy for anyone to create landing pages.


“Even when we uploaded to YouTube, we would still have to ask an external web production company to create the landing page. If you set up a template in Brightcove Gallery, anyone can quickly create a simple page” (Kawakatsu)


The decision to introduce the system was made at the end of 2017. First, the Public Relations and Advertising Department took the lead in using various functions, including Brightcove Video Cloud, and is currently working on a project to pave the way for company-wide use. The expiration date for videos can be viewed on the Brightcove Video Cloud screen, so if the expiration date has not been entered for a piece of content, the person in charge can be prompted to enter it. It is now possible to set permissions for each ID, so the production company has only upload permissions, while the in-house staff have editing permissions.


“I tried creating a landing page myself as a test case using Brightcove Gallery. It was a simple page that I generated by copying and editing a template, but if I had to outsource it, it would have cost a certain amount. I was able to generate it myself in a short time and at no cost. If this system is used within the company, it should lead to cost reductions.” (Kawakatsu)


Since it is possible to store videos that you want to keep private within the company, they have also uploaded videos for internal use, such as training videos for sales staff, to Brightcove Video Cloud. This has enabled them to store videos on a secure cloud, so they can now share the latest information quickly with sales staff in stores.


They are also currently testing video ad viewing analytics. They have been able to obtain viewing data for their corporate brand ads targeting women who are working away from home, which they have been promoting on social networking sites. Kawakatsu says, “This year is the stage for setting up the infrastructure. We are promoting awareness within the company. In the near future, for example, we would like to work with the e-commerce department to set up a system that links content to purchases.”

SIMPLE STEPS TO IMPROVE VIDEO PERFORMANCE

“Hey Sally, how are our videos doing?” asked Sally’s supervisor as if such an ominous question could be answered while passing by. “Great,” said Sally. “Lots of people watched them, we got 382 views.” Yet they both wondered, “Is that good? Is that below average? How can we get more views?”

If this scenario sounds eerily familiar, you’re not alone. I’ve worked with countless Brightcove customers who have wrestled with the same questions. So I’ve created a series of steps anyone can take to improve video performance.

CHALLENGE: GET MORE PEOPLE TO CLICK PLAY

There are a couple of basic things to consider when you’re having issues getting viewers to engage with your content. Look no further than your poster image, your video size, and page placement to improve video performance.

STEP 1 – TIGHTEN UP THE POSTER IMAGE, TITLE, AND DESCRIPTION

Website visitors generally feel hesitant to commit 1-2 minutes of their life to a video unless it will:

  • Help them with something
  • Answer a question
  • Entertain them

The number one way to get more viewers to click play is to set expectations using the cover image title and description—tell the viewer exactly what they will get if they click play.

If you’re making a video about how to assemble a desk, say, “How to assemble our new desk.” If you’re explaining quantum physics, “Explaining quantum physics” would be a great title. Don’t over think the title or get to clever with it. Avoid using “marketing-ese” and be clear. You can even photoshop the title into the poster image itself. Check out how I did this for a recent video I created.

Home Depot has always been really good at this. If you check out their video portal you’ll see that they tell you exactly what you’re going to get in the video.

STEP 2 – ADJUST THE SIZE AND PAGE PLACEMENT

We all love big videos. It’s the reason we keep buying bigger and bigger TV’s and phones. The same is true for viewers on your website. If you place a tiny 320X180 video bottom right, two page scrolls down expect to see low numbers.

Placing it front and center and making sure it’s as large as your page design will allow dramatically increases the chances of someone clicking play. I’ve clicked play on a video that I wasn’t even interested in just because it was so big and beautiful.

CHALLENGE: GET PEOPLE TO WATCH MORE OF YOUR VIDEO

So now that we’re getting more clicks, how do we get people to stay engaged for longer periods of time? This is possibly the most difficult one to define and quantify. After all if there was a formula we’d all be making viral videos.

STEP 1 – BE CONSISTENT WITH CONTEXT

Let’s say you have a website that lists all of the specs of a tractor. You place a shiny new marketing video that focuses primarily on how great the tractor is and why everyone should buy it. We have two completely different conversations going on here. If your page provides info or explains something, so should the video on that page. Save your marketing video for a marketing page.

STEP 2 – THINK ABOUT TONE AND PLACEMENT

When you head to a job interview or go out socially with friends you think about each situation differently and dress appropriately. The same is true for a video. Before you start writing a script or storyboarding your shots, have a short conversation about what tone and presentation best supports both the topic and destination of your video. For a social piece you can and should be more casual and conversational. If it’s going on your home page, you can and should be more polished and formal.

STEP 3 – TELL SOMEONE’S STORY

As humans, we are drawn towards someone’s perspective on a story, not just the story itself. It’s the reason we like reality shows and why we listen to a specific news channels. Yes “story” is king, but someone’s perspective on a story is what makes it interesting and relatable. Once you’ve identified a story, ask yourself, whose perspective of that story makes it most interesting? A customer of yours? An engineer who worked on the product? A sales person? A salesperson’s Mother? You get the idea.

STEP 4 – ALWAYS BE HELPFUL

Being helpful wins every time. If you’re not sure what your customer pain points are, dig into your support tickets and ask your sales team what customers ask about most often. Then go create content that helps your customers solve those problems and they will keep watching.

Xero’s “Startup Series” is an excellent example of this. The videos directly address and provide answers to questions that new startups are asking.

While there is no formula that will guarantee your next video will double your company’s revenue or go viral, the suggestions above will help improve video performance and engagement. Ultimately we all know that the more people that click play on your videos and longer they stay engaged, the more likely they are to eventually convert.

BRIGHTCOVE PLAYER V7 UPDATES

OUT WITH THE OLD, IN WITH THE NEW

In 2018, we pre-released version 6.20.0 of the Brightcove Player, marking the first release using Video.js 7.

Video.js 7 includes two major changes.

First, it bundles the Video.js HTTP Streaming library into Video.js, adding HLS playback support and experimental DASH playback support to the default Video.js library. The Brightcove Player has long bundled HLS playback support, so this aspect of the update does not significantly affect Brightcove customers.

However, the second change does affect Brightcove customers and it’s one we’re really excited about: the removal of support for Internet Explorer (IE) versions 9 and 10. Going forward, we will only support IE11 and versions 6.20.0 and higher of the Brightcove Player will not function properly in IE versions before 11. The full details of this policy change can be found in the Brightcove Player System Requirements document.

HOW IS REMOVING SUPPORT FOR SOMETHING A GOOD THING?

As of June 20th, IEs older than 11 accounted for a mere 0.07% of our Player traffic. However, every quarter we have expended effort to support these outdated browsers. This includes the human effort of running manual tests and debugging potential issues as well as the machine effort of running automated tests. Every hour we spend testing and chasing issues with these browsers is an hour we can’t spend doing work that’s more valuable for the Brightcove Player and our customers.

Further, removing support for old IEs from both Video.js and the Brightcove Player has reduced the size of the default Player from 166KB to 159KB. In other words, after updating to 6.20.0, each Player download from our CDN should send roughly 7KB less data over the wire.

Now, 7KB doesn’t sound like much, but consider it in aggregate. We only need to deliver around 142,857 players from our CDN to save of one gigabyte of bandwidth.

And this savings doesn’t just affect us here at Brightcove. The most important beneficiaries of this change are our customers’ users. They will be consuming less bandwidth from their limited mobile data plans.

WHAT IF I WANT IE9 OR IE10 SUPPORT?

If customers need to retain IE9/IE10 support, they can opt out of automatic Brightcove Player updates either in the Studio or via the Player Management API.

Customers still on versions 5.x don’t need to do anything. But we strongly recommend upgrading to 6.x to get all the latest and greatest improvements.

BEST PRACTICES FOR MONETIZING LIVE EVENTS AND 24/7 CHANNELS

Everyday, we enable live events and 24/7 linear channels for our global customers. We’ve learned a lot about what it means not only to deliver live at scale but to monetize live at scale. For Live, monetization is now an achievable and often necessary requirement, but success means thinking about the end-to-end workflow, from content origination to content consumption.

This post will focus on the use of advertising, the most common monetization approach for our customers. However, these best practices can still be useful in the context of transactional and subscription models.

People often use the umbrella term, dynamic ad insertion (“DAI”), to describe the ability to present in-stream ads with video content. From a technical standpoint, DAI can be implemented by two different approaches: client-side ad insertion (“CSAI”) and server-side ad insertion (“SSAI”). It’s important to distinguish the between CSAI and SSAI to understand how monetization works best with live content.

CSAI is very common and the “de facto” standard for VOD. If we look at the workflow for CSAI:

  • When an ad break is detected, the client device makes a request to the ad server
  • The response may contain a waterfall comprising multiple ad requests
  • The initial ad request may result in multiple ad wrappers, requiring additional redirect requests
  • If those requests do not return an ad due to error (e.g., timeout, blank responses, HTTP errors) or unavailable fill, the initial ad request may fallback to the subsequent additional ad requests
  • Assuming a successful response is provided to the client device, the assumption is that the ad creative is appropriate for the device and viewing experience
  • And this gets repeated for every ad break – or even worse, multiple times within a single ad break. And for desktop, this assumes an ad blocker isn’t interfering with ad requests.

What happens is that ad requests – and all the subsequent ad wrapper or ad waterfall requests – require time. Latency increases, and the chance of an error or timeout for any step in that chain increases. The ad creative may not be available in a compatible format (e.g., FLV on iOS). Even if the format is compatible, it may not be optimal:

  • 4Mbps progressive MP4 sent to an iOS device accessing via 3G network
  • Low resolution and low bitrate renditions sent to an in-home viewing experience on a connected television
  • Or – what we call the “late night local used car dealer ad” – the volume of the ad is not normalized to the content

When any of these occur, the quality of the ad – and overall content – experience suffers, as does the value to the viewer, the content distributor, and the advertiser.

OPTIMIZE LIVE MONETIZATION WITH SERVER SIDE AD INSERTION

SSAI handles the manipulation of live program content and targeted advertising behind the scenes. As a result, media companies can deliver live content to the viewer with the same seamless quality as traditional broadcast. The insertion of ads is frame accurate, the ad experience is the same quality as content, and since this approach doesn’t rely on sophisticated logic to manage client behavior using client-side SDKs, the live stream – content and ads – can be played on any device that supports the base format, often HLS or DASH.

The benefits of SSAI extend across the content ecosystem:

  • For advertisers, SSAI can help us move past the archaic model of using “households” and “panels”. Instead, advertisers have the ability to target and deliver advertising to a specific user watching on a specific device in a specific geography at a specific time.
  • For viewers, say goodbye to the “spinning wheel”; SSAI eliminates buffering between ads and content.
  • For media companies, SSAI in the digital world of delivery and consumption opens up a viewing experience where advertising can be actionable, opening a bidirectional mode of communication that can increase the value to the advertiser and to the viewer.

DO THE MATH

One of the benefits of SSAI is the ability to support targeting per user, per session, and per ad break. This is a very powerful and valuable capability. No longer is measurement and attribution conducted at a household level. We can now target per viewer not just per DMA or RON. But this means those ad partners must have the capability to scale to hundreds of thousands of requests during an ad break.

To understand what this means from a systems perspective, let’s do some quick math for a live stream that reaches 1MM concurrent viewers (a common request from our customers) using HLS content encoded using six second segments.

  • Each user is treated as a unique session – 1MM sessions
  • Each session requires a unique manifest – ~166K requests/second based on segment duration and typical refresh
  • Each session requires a read and a write to maintain state – ~333K requests/second
  • Each session triggers an independent ad request (which could result in additional request due to wrappers or fallbacks) – ~166K requests/second
  • Each ad per ad break may have five tracking events (e.g., start, complete, firstQuartile, midpoint, thirdQuartile) – ~5MM impressions per ad

DEPENDING ON PARTNERS MEANS DEPENDABLE – SCALABLE – PARTNERS

If we look more closely at the last point, for a 120 second ad break, if the ad server responds with four 30 second ads for every request, that ad break results in ~20MM impressions in that span of 30 seconds. But if the ad server responds with eight 15 second ads for every request, it’s now ~40MM impressions in that span of 30 seconds.

Monetization requires close coordination with ad partners. And just as public cloud infrastructure is not created equally across the globe, your ad partners are likely utilizing similar infrastructure and need to analyze their regional capabilities.

During a high profile sports events, a customer reported lower than expected ad fill. To diagnose the issue post-event, this required aggregating and correlating multiple sets of data, matching time zones, session information, and eliminating “natural” or expected errors. We looked at:

  • The ingestion of the input contribution feed that might have caused drift or errors
  • The in-band signals to ensure the ad breaks were properly marked and triggered the ad requests
  • The session information to ensure there was no data loss with the in-memory cache layer
  • Client-side player logs to validate if there were playback errors
  • Ad requests to determine if the ad server was returning successful responses or errors

All the data seemed within reasonable ranges, but we eventually discovered that the 3rd parties receiving the ad beacons were unable to handle the spike in impressions, resulting in timeouts or errors due to the volume of legitimate requests made in the short amounts of time.

As a result, this means thinking about how to distribute both ad requests and beacons to lower the peak throughput while delivering the effective number of requests without compromising timing. As a result, we’ve learned that we need to tune our systems to “scale down” to the capabilities of the customers’ ad partners. This means evaluating the approaches for both pre-fetching ads (i.e., making ad requests before an explicit known ad break) and distributing impressions over a longer timeframe to reduce the peak throughput.

CONSTANTLY RE-EVALUATE YOUR CORE INFRASTRUCTURE

We are proponents of public cloud infrastructure; it has been a cost-effective and time-efficient method to enable a global architecture while maintaining regional optimization. However, the challenge is that not all public cloud infrastructure regions are equal in performance and cost. As a result, you need to balance the compute, storage, and delivery capabilities of a region with demand, and you may need to overflow to other regions to maximize performance or minimize cost.

As we utilize CDNs as a critical part of our workflow to enable global delivery of content and ads, we need to keep an eye on our CDN partners to ensure they are performing consistently at scale. For both everyday operational measurement and post-event troubleshooting, significant effort is focused on identifying and monitoring those situations that were formerly edge cases but are now commonplace situations to determine if there are issues specific not only to a specific CDN partner but to CDN POPs, subnets, and even individual edge servers.

We’re excited to see live streaming continue to play a significant role in how companies grow revenue, increase engagement, and build audience.

FIVE STEPS TO VIDEO CAMPAIGN SUCCESS

There’s a reason video continues to rise as one of the most powerful mediums we have — it connects us on a human level, it’s moving and engaging. With video, you can take something intangible, like B2B analytics software, and bring it to life. Three minutes of video has the potential to be far more powerful at conveying the value of a business than any white paper or email ever could.

To put it simply: Video works. But just creating video content is not enough. Making a video and driving return on investment from it are two completely different things. Too often, we miss the mark on the implementation side of our video strategy, leaving real business value on the table.

Here are five key ways to make sure your video campaign is successful.

1. VIDEO IS MEASURABLE, SO MEASURE IT

Like all digital marketing, video is measurable. But many companies miss the simple act of connecting it to real business results. We spend a lot of time putting together email campaigns, driving white paper downloads, and increasing traffic to our blogs. We set up beautiful nurture and personalized campaigns based on what users click on and download. So why are we operating video in a silo, separate from the rest of our marketing stack?

The ability to measure video impact is no longer about view counts; it’s about who is viewing your video. Instead of focusing on clicks, we need to build out profiles of individual viewers and communicate with them based on their needs and interests.

This is what takes video campaigns to the next level and allows us to serve consumers the most relevant content

2. THINK EXPERIENTIAL AND OUTSIDE THE BOX

Video works, but it doesn’t have to work at the expense of your other content. Embedding a large player box to watch a single video means sacrificing valuable real estate as well as decreased engagement with other parts of the page.

A better way is to think about video outside the context of the player by making it a key piece of your user experience strategy.

When it comes to user experience, brands are beginning to bring interactivity into the equation with powerful results — videos with interactive elements have a much higher click-through rate compared to linear video. Interactivity doesn’t have to be complex. It comes in all shapes and sizes from gamification to quizzes, chaptering to hotspots and calls to action. It transforms a video from a one-way conversation into a two-way dialogue.

Not only does interactivity help increase completion rate, time on sight, click-throughs, and engagement, but it can also play an important role in strategy development. Every click and action is measurable, providing greater insights into your audience.

3. PERSONALIZATION, PERSONALIZATION, PERSONALIZATION

In a world increasingly defined by customer-centricity and user experience, it should come as no surprise that personalization in video really works.

Most brands and companies still deliver a single video message to all of their users, but we’re learning that it’s important to take it a step further.

At Brightcove we practice what we preach, so we’ve embraced a video-first account-based marketing (ABM) strategy. We use personalized videos for demand gen as well as land and expand targets. By creating bespoke videos for various accounts, we can immediately engage customers and create a personal connection. Integrating this into account-based advertising campaigns means videos are delivered to the right audience across social channels and email.

And the results have been outstanding.

Emails have a 224 percent open rate. Yes, people liked the outreach so much, they were forwarding it to colleagues. And across account managers, we have an 80 percent engagement rate on video.

4. EXPAND YOUR REACH TO EXPAND YOUR ROI

Unlike the 1960s or even the early 2000s, we can no longer expect our audience to gather together to watch TV. Today, our campaigns must reach the audience where they are and deliver content that matches consumption habits across multiple screens and different social channels.

And while you have to think about content length and context for each channel, you do not need to create a whole new video for each medium. You can take the same video and cut it down to different lengths depending on the platform.

Why is this important? Almost half of people on social watch branded videos, and more than half make a purchase after watching.

But we can’t stop there. Connected TVs (CTV) are shaping up to be another critical distribution channel. According to the IAB Australia, Connected TV streams grew by 351 percent over a 15 month period alone (January 2016 – March 2017). And with over 2.9 billion ad opportunities served across Australia’s main four free to air broadcasters via Connected TV streams, CTV is becoming a medium to consider for your next campaign.

It’s about time brands catch on.

5. GO LIVE

Live video is growing, with audiences coming to expect some form of live coverage for major events.

This shift is reflected in the number and variety of live events we have seen in the last year. The Exploratorium recently brought us the solar eclipse, live. Sotheby’s auctions are live. We even had a customer live stream a brain surgery.

We already know that video has the unique ability to win over the hearts and minds of viewers, but going live just makes it that much more engaging.

PLAY TO WIN WITH A VIDEO-FIRST STRATEGY

The best companies have a video-first strategy. When you think video-first, you’re forced to come up with the full story you want to tell. And with that story, you can easily create the rest of the content that surrounds the video: the email, the landing page, the blog.