side by side were the leaders of Facebook and Twitter in recent days and refused the Turkish authorities to disclose the identities of their users. Meanwhile, the dispute between the long-time rival for sovereignty in the social networks has gone to the next round. It comes to the question of how – after signs and photos – videos can now be served by their networks. It is also about the growing market power in the mobile Internet.
Facebook has since the end of June its photo service Instagram donated a video function, Twitter is under pressure. Previously you had with the app Vine monopoly on sharing short video recordings. How users can share 140-character messages with their own followers and various tags (hashtags) with the world on Twitter, Vine allows the same six-second videos. For a vine you just put your finger on the screen and you will be recorded. When released, recording will pause and can be continued in a different setting. As with the animated gif photos, the video after playing automatically repeated. Six seconds, tens of cutting possibilities and the whole thing in a loop: quickly formed a steadily growing community that provides amazing insight into the lives of people with smartphones. Under vpeeker.com allows you to get randomly generated insights.
The format has already spawned a film competition and a new quality of the attention economy: the “tweaser,” the movie trailer for the Twitter age. 3.3 cuts per second on the vine spread appetizer arrives for the X-Men spin-off “The Wolverine”. In April, a video showed the explosion in the Boston Marathon, located Vine had made a name for itself in the news business and has since been supplying glimpses of the protests in Turkey or Brazil. Since the launch five months ago, the Vine community grew to twenty million users. Of course, Facebook could not remain idle as to make this video but a big piece of the mobile Internet market from.
In April of last year, Facebook had bought the photo service Instagram and Twitter gouged bidders with an offer of one billion dollars. With the app every little works of art from photos can make by placing one of the preset filters on the snapshot. A little seventies-retro look here, displaced focus point there – the app has drastically reduced along with ever-improving smartphones the entry barriers for high-quality photography and has become for Facebook to a traffic magnet. Since the acquisition a year ago, the service has grown from forty to more than 130 million users. These have included sixteen billion photos in the past three years, every day they distribute a billion “likes”. Since the 20th June, it can also record videos. Up to fifteen seconds – more than twice the length of the Vines – this may be, thirteen filters are available, to an automatic image stabilization. In the first 24 hours five million videos have been uploaded.
Not all are convinced that Instagram keeps the balance between photo and video community in the long term. In addition to the high bandwidth, which now requires the service to load the video, also the user profile shifted: Instagram could be from the pause app that lets you scroll through times just a few photos to time wasters. That would be a development in the sense of Facebook. Soon all ten pictures or videos commercials could be switched into the streams. A higher retention of users in the mobile network is the currency of the future.
Just ten days after the video update given the Instagram videos online debate: Were the middle of June three million Vines spread via Twitter, there were only 700,000 in early July. The number slowly rises again, but the references are to Instagram with 1.5 million forward. Twitter has now responded with an update and donated the users besides new camera features a “re-Vine” button of the “re-tweet” the direct forwarding a video to their own followers have allowed similar thematic categories, as well as a display of current trends. Could therefore be crucial which service understands better integrate the short videos in the web entertainment and their respective contexts.