The Problem Short form video is a pretty new feature in the social media world. What is the best way the tackle a live event with it. How can you do preproduction? How will you do edit and organizing content in the most efficient way? Will you edit everything on phone or are the traditional tools the way to go? And how can you gain views on the content you created? What will make a video sharable? A lot of questions, will those have one big answer?
State of research Since short form video is quite new, there are not a lot of scientific papers about it. There are a lot of papers and books about traditional marketing where I can put out the essence of marketing and put those findings in my topic. I’ll probably also have to interview people to gain some information about best practice.
The question How to achieve social media campaign goals for an event in the best possible way (focused on short form video)
The hypothesis This master thesis will provide the guidelines for an optimized social media campaign based on short form video.
The reference to theory There are a lot of social media campaigns with short form video but you rarely find the secret recipe to the best way of doing it the right way. Short form video is quite new and therefore, there is a lot to list out what is the best way to do so.
The Method The method will be based on three pillars:
Best practice, analyze previous campaigns. And interview people who play a key role in defining the industry, are questioned about their social media management processes and point out what the importance is of a good social media campaign.
Theoretical contextualization of traditional and agile marketing/social media methods.
Implementation, of all the findings to a social media campaign for a live event (achtvanbladel)
All pillars are combined to find optimized guidelines for a social media campaign focused on short form video.
The Material There are all kinds of sources available: Theoretical books, scientific papers, Tedtalks, Interviews, data of previous campaigns
Bibliography For the Bibliography I dont have that much sources that I know I’m gonna use for sure. – Brown, R. E., Jones, V. K. & Wang, M. (o. D.). The new advertising: branding, content, and consumer relationships in the data-driven social media era. Volume 1 Traditional advertising tranformed (Volume 1). – Coker, K. K., Flight, R., & Baima, D. M. (2017). Skip it or view it: The Role of Video Storytelling in Social Media Marketing. Researchgate. – Kurzrock, Ethan. (2019). Intensified Play: Cinematic study of TikTok mobile app. – Sidorova, E. (2022). Global art market in the aftermath of COVID-19.
Structure
Title
Abstract
Introduction
Literature review
Method
Results
Conclusion
Discussion
Timetable February – April: Theoretical part, best practice, analyse previous campaigns. And interview people who play a key role in defining the industry, are questioned about their social media management processes and point out what the importance is of a good social media campaign. April – June: Preproduction for Implementation July – August: Social media campaign for a live event (achtvanbladel) August – September: Results, Conclusion, Discussion
Keeping up to date with AI trends as I always try to do, I watched two update videos by Curious Refuge.
First they talk about many text to video AI updates, including a new stable video diffusion feature which looks promising, but after a comparison with Pika 1.0 and Runway, it becomes obvious that it is still in earlier stages of development and that a mixture of the three tools will still probably be the best workflow.
They continue to talk about some Elevenlabs uptades that I have actually already tried out for the Anime AI film trailer and about a paper on a gaussian splatting algorithm that supports animation and physics simulations.
In the next update video, Caleb Ward talks about the new Pika 1.0 in more detail. In a showcase, it seems that the video-to-video features are in their infancy at this point. Changing backgrounds in videos and expanding videos (much like photosho’s generative fill) seem to work almost perfectly, however. Adding VFX simulations shows heavily varying results. He does not go into any detail regarding text-to-video functionalities, much less animation or stylised animations, which is a real shame since that’s basically what I want to be doing for my thesis.
Next, the video talks about Gemini, Gemini Pro and Ultra, upcoming Chat-GPT competitors by Google which supposedly beat Chat-GPT in 30 of 32 tests. Ward thinks that OpenAI has nothing to worry about, given the recent news of the company’s Q* project supposedly being too powerful, concerning the company’s investors.
MagicAnimate and Animate Anyone are new AI powered animation tools that can take images and essentially add motion from a reference video to that image. What’s particularly interesting for me here, is that apart from the many TikTok dancers, there is a brief showcase of an anime figure being animated very nicely.
There is also a tech demo on real-time conversion of real footage into anime using Stable Fast, the results are extremely rough at the moment, but the fact that the technology works in real time is promising to say the least and considering the rate at which these technologies are progressing, maybe it could be ready for actual use in time for my master’s thesis.
Im Rahmen meiner Worksession letzte Woche und des Verfassens meines Exposés habe ich mich auch mit der vorläufigen Struktur meine Arbeit beschäftigt. Hier ist mein vorläufiger Entwurf:
Vorläufige Struktur
Einleitung
Bergfilm o Bergfilm als Genre o Geschichtlicher Hintergrund o Bergfilm im deutschsprachigen Raum
Drehplanung o Rollenverteilung o Klassischer Ablauf
Budget
Storyboard und Shotlist
Drehplan
Drehplanung für Bergfilme o Dokumentarischer Bergfilm o Kommerzieller Bergfilm
Werkstück
Conclusio
Genauere Beschreibung
Die Sektion Bergfilm beschäftigt sich mit dem Bergfilm generell und soll auch die geschichtlichen Aspekte etwas genauer behandeln. Hier gibt es extrem viel Literatur, mit der ich arbeiten kann. Die Unterbereiche der Genrediskussion, Geschichte und Feinheiten im deutschsprachigen Raum sollen hier beleuchtet und ausgeführt werden.
Kapitel Drehplanung beschäftigt sich mit dem klassischen Konzept der Drehplanung und Planungsprozesse im Filmbereich. Hier werden die Rollenverteilung und die klassischen Abläufe erklärt und ausgeführt. Auch in diesem Bereich gibt es relativ viel Literatur, mit der ich arbeiten kann.
Das größte Kapitel wird Drehplanung für Bergfilme sein. Hier werden die theoretischen Grundlagen aus Teil 1 und 2 kombiniert und auf der Basis von Experteninterviews wird der Drehplanungsprozess für Bergfilme beschrieben, konkretisiert und definiert. Am Ende dieses Kapitels soll der*die Leser*in in der Lage sein, anhand meiner Arbeit einen Bergfilm sinnvoll zu planen.
Die Werkstücksdokumentation ist denke ich selbsterklärend.
With the increasing use of smartphones, the vertical use of videos is becoming more and more important, and as a result, videos in portrait format are also being promoted in social media applications. Younger audiences rarely switch to landscape when using their smartphones, mainly due to discomfort and the subjective feeling that the 16:9 format “looks nicer.” (Pogue, 2018)
Mobile users typically hold their phones vertically about 94% of the time. This preference for the vertical screen orientation of smartphones is driving the production of mobile vertical video content. This format appeals to mobile users because they can easily capture and watch video content without needing to tilt their phone 90 degrees (Mulier et al.,2021).
The Dominance of Mobile Vertical Video Marketing
With the usage of mobile devices, the trend of mobile video becoming the primary way consumers consume content. Indeed, mobile devices are the fastest growing medium for digital marketing, with smartphones driving the overall increase in consumers’ digital content viewing time. Moreover, more than 75% of all video viewing is on mobile devices. Consumers are 1.5 times more likely to watch a video on a smartphone than on a computer. Therefore, video marketers need to rethink their online strategies and implement video marketing more intensively in the mobile space and follow trends such as the vertical video trend (Mulier et al.,2021).
Research Question
“How does the effectiveness of mobile vertical video marketing influence consumer brand attitude in the era of short-form content on social media platforms?”
Paper 1 – “The Effectiveness of Mobile Vertical Video Marketing”
This Way Up: The Effectiveness of Mobile Vertical Video Marketing, Lana Mulier * & Hendrik Slabbinck * & Iris Vermeir, 23 February 2021
In the paper they published three different studies.
The first one explores the difference in customer engagement behavior between vertical and horizontal advertisements displayed on Facebook. The video duration of the advertisements were 15 seconds and identical in content, with the only distinction being the format. It was revealed that the vertical video was played more frequently (ranging from 25% to 100%) than the horizontal video. The call-to-action button was used at a similar frequency in both cases, suggesting that the format does not appear to be relevant in this context (Mulier et. al.,2021).
The second study explores the Effect of Mobile Vertical Video Advertising on Processing Fluency Through Effort. They recruited 110 students from a European university (17-29 years). They used two existing 62-s video ads of Nike (2015), which were equal except for the screen format.
After watching the video ad, participants answered two questions on the smartphone. One about the information and the other one about the effort. Participants in the vertical condition said that watching the video on the smartphone takes significantly less effort than in the horizontal condition. The findings from Study 2 confirm that mobile users experience less effort when watching a vertical video ad as opposed to a horizontal video ad, as watching a vertical. Mobile users process the vertical video ad more fluently than the horizontal video ad (Mulier et. al.,2021).
Mobile vertical video ads were found to increase interest, customer engagement behaviors (CEB), and information processing speed compared to traditional horizontal video ads. In addition, mobile vertical video ads were found to have higher completion rates compared to horizontal video ads.
In addition, not all people watch videos on mobile devices, especially members of the older generation. Therefore, to reach a broad audience (without specifically targeting a generation or a certain demographic segment), it is recommended to create two versions of video ads and marketing messages: one for vertical viewing on mobile devices to reach younger viewers, and one horizontal to reach older viewers (Mulier et. al.,2021).
Case Studies on Successful Vertical Video Campaigns
Today, brands use vertical video for everything, from entertainment to educational content on platforms like LinkedIn. With the rise of smartphones, vertical content is transforming how we report and consume world events. Major platforms are promoting vertical video creation and brands are investing in creating compelling content. New interactive features are revolutionizing storytelling and opening up global engagement opportunities (Sharma, 2023).
But besides Mercedes Benz, Netflix and many other brands, Instagram has probably also shaped the trend with its daily vertical stories. In the meantime, Youtube and TikTok have also made the format their own, as they had to keep up with the trend in order not to fall behind (Gilliland, 2019).
Case Study of National Geographics
A very well-known brand where the videos work well, even though one would think they should be played out in wide format for the content, is National Geographic. Despite the nature footage and sometimes long documentaries, the brand has many views on Instagram and was even chosen as a launch partner for IGTV at the time. They created the 47-minutes documentary “One Strange Rock” which generated over three million views (Gilliland., 2019).
National Geographic relies heavily on social media, which accounts for over half of the media company’s advertising revenue. Vertical video, with its appeal to authenticity, is proving to be a key strategy in keeping the audience engaged (ibid.,2023).
For National Geographic, this shift has translated into more content and audience growth, seen on Instagram and TikTok. The brand continues to educate, inform, and inspire while ensuring a profitable business perspective. From the contributor’s perspective, social media has become a valuable tool for sharing behind-the-scenes moments, allowing the audience to connect with the creators and engage in meaningful conversations about the content. In essence, the shift to more authentic, low-fi social media content complements National Geographic’s storytelling by providing a look into the creative process and the people behind the captivating imagery (Barber,2023).
The Influence of Social Media Short Video Marketing
Short video is a new type of video that can be shared, forwarded, and viewed on social media short video platforms within 3 minutes, mainly using mobile intelligent terminals for shooting and editing. The playing time ranges from a few seconds to a few minutes (Liu et al., 2019).
Social media platforms like TikTok, Instagram, and Snapchat provide good access for individuals to watch video clips of short duration, from 15 s to 1 min (Gan et al., 2023).
Paper 2 – “Influence of Social Media Short Video Marketing on Consumer Brand Attitude”
Research on the Influence of Social Media Short Video Marketing on Consumer Brand Attitude, Gao-fu LIU, Yu-chun LI, Peng-chao GAO, Zhuo-ping ZHANG, 2019 August
We can divide short video marketing of social media into three dimensions: interesting content, scene-based experience and user participation and interaction (Liu et al., 2019).
1) Interesting content has a positive impact on brand attitudes. The content with strong interest and high degree of entertainment, integrate the brand culture into the content of extensive entertainment, and enhance consumers’ cognition and emotion of the brand in a relaxed and pleasant way (Liu et al., 2019).
2) Scene-based experience has a positive impact on brand attitude. It can help to provide consumers with a real scene that can be sensed by themselves through complex designed life scenes and consumption scenes, to display brand image fully and variously and spread brand culture, to gain more consumers’ recognition (Liu et al., 2019).
3) User participation interaction has a positive impact on brand attitude. To deepen consumers understanding of the brand and stimulate the positive attitude towards the brand, the content should stimulate more users to participate in the creation and imitation of short video (Liu et al., 2019).
4) Brand perception plays an indirect role in the impact of short video marketing on brand attitude. Short videos should fully consider consumers’ visual and auditory perception, the time and way of brand exposure, and show interesting content and specific experiences to improve consumers’ brand perception and promote positive brand attitude (Liu et al., 2019)
Case Studies
The Critical Perspective
The question is if vertical video is the best option to use videos on mobile devices. Some people might prefer a horizontal viewing mode on large screens (e.g., cinema and television), but like to have a vertical viewing mode on small screens, such as smartphones or smartwatches. Next to the formats we just talked about there are also different one like square video, 360° views, etc. Considering the increasing use of different screen formats only suited for a mobile context (Mulier et. al.,2021).
Critics of the vertical video format argue that vertical video mode violates not only technical video standards, but also the laws of nature concerning human vision. Because our eyes are horizontal, we see the world as a horizontal panorama. Widescreen formats, like in television and movies, allow viewers to use their peripheral vision when watching video, to look at one part of the screen but indirectly see other parts of the screen as well.
It is therefore logical to favor horizontal displays over vertical displays. Indeed, studies of human eye movements show that smooth horizontal pursuit (eye movements that bring the image of a moving object closer to the eyeball) is superior to vertical pursuit. Furthermore, it is intuitively obvious that reading vertical text (vertically aligned letters) is slower than reading horizontal text. However, vertical format is used almost exclusively in print (Mulier et. al.,2021).
Keeping up with ever-changing trends can seem hard these days. Not so long ago, 16:9 widescreen video was the norm, but that changed before most media agencies could catch up.
The next generation device we’ll always be using could be digital glasses or something else that uses landscape orientation.
Also Cinemas will never shoot only in portrait mode because they will always be in landscape mode. Portrait orientation cameras will always be the exception, not the rule.
Conclusion
In conclusion, the appearance of vertical video as a dominant format is reshaping how brands connect with their audiences. With the preference for holding smartphones vertically, mobile users have driven the rise of vertical video content. This shift not only provides a more comfortable viewing experience but also offers to the increasingly popular demand for raw, personality-driven content on social media. Vertical video is a must for companies seeking success in this dynamic environment.
Being vertical doesn’t automatically guarantee success, as the study shows. As long as content is viewed on TVs or laptops, there will always be places for cinematic style of landscape. This means that it should be seen as an additional or alternative format.
The shift to vertical video is a response to habits of today’s audiences. Brands that embrace this change stand to benefit from higher engagement, completion rates, and audience growth.
As we move forward, vertical video is expected to play a crucial role in shaping the future of content creation, sharing, and storytelling on social media platforms.
References:
Napoli M. D. (2016). The “Mobile Effect” on Screen Format: the Case of Vertical Videos. https://www.researchgate.net/publication/311945562_The_Mobile_Effect_on_Screen_Format_the_Case_of_Vertical_Videos
Pogue D. (2018). Video Looks Most Natural Horizontally, but We Hold Our Phones Vertically – We see horizontally but tend to hold our phones vertically. https://www.scientificamerican.com/article/video-looks-most-natural-horizontally-but-we-hold-our-phones-vertically/
Gilliland, Nikki. (2019, November 23). Five examples of brands using vertical video. https://econsultancy.com/brands-vertical-video-social-examples/
Drummond-Butt S.(2019, August 25). Don’t flip that phone: Vertical video is a must for marketers [Infographic]. https://www.impactplus.com/blog/vertical-video-in-marketing-infographic
Liu G., GaoP., Li Y., Zhang Z. (2019, August). Research on the Influence of Social Media Short Video Marketing on Consumer Brand Attitude. Proceedings of the 2019 5th International Conference on Social Science and Higher Education (ICSSHE 2019) 10.2991/icsshe-19.2019.192
Pibert J. (2021). Vertikale Musikvideos. Filmpsychologische Analyse der Wirkung des Hochformats in Lena Meyer-Landruts DON’T LIE TO ME. https://mediarep.org/bitstream/handle/doc/16697/ffk_2021_6_216-228_Pibert_Vertikale_Musikvideos_.pdf?sequence=4&isAllowed=y
Mulier L., Slabbinck H., Vermeir I. (2021, February 23). This Way Up: The Effectiveness of Mobile Vertical Video Marketing. https://doi.org/10.1016/j.intmar.2020.12.002
Sharma A. (2023 , January 28). Why are marketers favouring vertical videos more and more? https://www.financialexpress.com/business/brandwagon-why-are-marketers-favouring-vertical-videos-more-and-more-2962645/
Gan J., Shi S.,Filieri R., Leung W. (2023, May 25). Short video marketing and travel intentions: The interplay between visual perspective, visual content, and narration appeal. https://doi.org/10.1016/j.tourman.2023.104795
Barber K. (2023, October 31). How National Geographic is using its contributor network to refresh its social media channels https://digiday.com/media/how-national-geographic-is-tapping-its-contributor-network-to-refresh-it-social-media-changes/
Letzte Woche hab ich mir ein paar mehr Gedanken zum zeitlichen Ablauf meiner Masterarbeit gemacht. Hier ist der vorläufige Plan:
FILM
24. November 2023 – 09. Jänner 2024
Konzeption und Drehbuch Werkstück
09. Jänner 2024 – 31. Jänner 2024
Drehplanung Winterdreh
12. Februar 2024 – 18. Februar 2024
Winterdrehtermin
18. Februar 2024 – 11. März 2024
Post Produktion (soweit möglich) von Winterdreh
11. März 2024 – 24. März 2024
Drehplanung Frühling
15. April 2024 – 30. April 2024
Drehtermin Frühling
01. Mai 2024 – 31. Mai 2024
Post Produktion
ARBEIT
28. Dezember 2023 – 18. Februar 2024
Lektüre und Recherche
18. Februar 2024 – 14. April 2024
Theorieteil schreiben
01. Juni 2024 – 23. Juni 2024
Werkstück Dokumentation schreiben
24. Juni 2024 – 30. Juni 2024
Korrekturlesen und Korrigieren, Layout Entwurf
01. Juli 2024 – 05. Juli 2024
Layout befüllen
05. Juli 2024
Druckauftrag abgeben
September 2024?
Abgabe
Diese Termine habe ich mir auch schon in mein Masterabeits-Notion eingetragen, um sie auch als To-Dos und Zeitleiste zu haben.
Zeitleiste und Tabelle
Mein nächster Schritt wird es sein, diese To-Dos tatsächlich (pünktlich) anzugehen und abzuarbeiten. Vor allem die Vorproduktion meines Films wird mich in nächster Zeit sehr stark begleiten.
For this post, I will be taking a look at: Perndorfer, Rafael. 3D Interaction Within a Multi-User Distributed Untethered Virtual Reality Training Simulation, 2017.
Level of design
The layout of the paper appears to be a generalised one that was probably mandatory, as it is not noticably designed or layouted. This makes it look like a technical book or specialised publication one would expect when reading up on something in an academic setting such as school or university. Weirldy enough, this subjectively boosts its credibility as similar looking books are usually expected to be trustworthy.
Degree of innovation
The author described the current state of technology and innovation in the specific field of VR on site training of large scale operations, which in itself is of course not innovative, however this only built the base for further steps. Later in his work, the author expands on said knowledge through his own contributions and findings. This does not completely reinvent the system, but rather builds on what was already there, which is acknowledgeable as some degree of innovation.
Independence
The thesis was presumably written independently, however it of course builds upon and depends on the system and technology that was already there in this area. Qualitative research was also conducted by surveying a specific group of people. This is independent research, but was again limited by the level of specificity of the topic, as a consequence of which the number of participants was also limited.
Outline and structure
The topic is outlined quite nicely in the first chapters of fundamentals, which also segues neatly into a state of the art research, followed by the methodology used in the independent research. This is an easily followable structure which also makes sense based on the topic.
Degree of communication
Although some formulations can become quite technical, they are always explained in enough detail to be widely understandable. Fitting pictures also back up or further explain what was stated in the text. This is often extremely useful, as only those really help visualise more complex topics.
Scope of the work
The scope is quite clearly defined from the beginning in this very specific area of VR technology. Over more than 100 pages, it is properly dealt with and supported by citations and own research.
Orthography and accuracy
Orthographically, I did not really find any major mistakes other than one “priories” instead of “priorities”. Some expressions could have been formulated better, as they often have a very distinct german origin in the way they are read. This is noticable when it comes to sentence structure, however is not much of a problem when it comes to actual content or orthography.
Literature
At first glance, the bibliography is quite heavy on the internet side, and lacking traditional books. This might initially be looked down upon, but nowadays, especially when taking into consideration the highly specific and modern nature of the topic, it is understandable that online sources provide a much more up to date view on this rapidly evolving field.
Nachdem es im Bereich Drehplanung keine einzige und im Bergfilmbereich nur eine Arbeit mit online Zugang gibt, blieb mir leider nichts anderes über, als eine Diplomarbeit aus dem Jahr 2012 zu analysieren. Die Autorin Annika Wolfsteiner hat mit dieser Arbeit den Grad Magistra der Naturwissenschaften (Mag. rer. nat.) angestrebt, welcher leider mit unserem Designzugang nur wenig zu tun hat. Aber wie gesagt, war das die einzige Möglichkeit für mich, diese Aufgabe zu erledigen. Fangen wir also an.
Gestaltungshöhe
Die Arbeit ist ganz klar in einem institutsinternen Schema verfasst. Es gibt keine besonderen Designelemente, die hervorgehoben werden könnten. Die Kapitelüberschriften sind immer in Blockbuchstaben geschrieben, der Fließtext sans-serif und direkte Zitate sind, wie man es aus anderen Hochschulschriften kennt, eingerückt und mir einem anderen Zeilenabstand. Es werden in der gesamten Arbeit keine Bilder verwendet, das Cover ist schwarz-weiß. Der einzige etwas aufregendere Teil sind die drei Tabellen, die enthalten sind. Diese sind erfrischend, aber vom Design her auch so basic wie sie nur sein könnten.
Innovationsgrad
Nachdem die Arbeit eine reine Analysearbeit ohne eigenes Werkstück ist, bleibt dieser Punkt auch sehr unzufriedenstellend beantwortet. Man kann nicht wirklich eine Form von Innovation entdecken. Maximal der Fakt, dass außer Wolfsteiner noch niemand genau diese Filme („Die weiße Hölle vom Piz Palü“, „Der Berg ruft“ und „Nordwand“) miteinander analytisch verglichen hat.
Selbstständigkeit
Ich bin mir nicht ganz sicher, was mit diesem Unterpunkt gemeint ist. Wenn es um Alleinstellungsmerkmale geht, kann ich sagen, dass zwar das Thema an sich nicht wirklich viel Konkurrenz mit sich bringt, der Text allerdings an jegliche andere Abschlussarbeit erinnert.
Der Begriff „Independence“ kann allerdings auch so verstanden werden, dass er beschreibt, ob die Arbeit als einzige Quelle ausreicht, um alle Informationen zu haben. Quasi als ob sie unabhängig von ihren Quellen wäre. Mal abgesehen davon, dass ich glaube, dass keine Wissenschaftliche Arbeit mit Quellen unabhängig von diesen sein kann, finde ich, dass Wolfsteiner hier trotzdem gut gearbeitet hat. Ich habe mir bis jetzt noch nicht wirklich viel im Bereich Bergfilm durchgelesen und hatte keine Probleme mit nicht vorhandenem Vorwissen. Ich finde, die Hauptpunkte wurden sehr gut aus den Quellen (sowohl aus den wissenschaftlichen als auch aus den rein visuellen) herausgearbeitet.
Gliederung und Struktur
Meiner Meinung nach ist die Arbeit sehr gut strukturiert. Man bekommt zuerst alle nötigen Hintergrundinformationen, bevor es schließlich in den Analyseteil (also dem Teil der wohl am ähnlichsten zu unseren praktischen Teilen ist) geht. Bis auf das erste Kapitel (Historischer Überblick: Alpinismus) und die Analysen der Filme gibt es immer nur drei Unterpunkte, was grundsätzlich für eine gut durchdachte Strukturierung spricht.
Kommunikationsgrad
Ich denke, das mit diesem Punkt der Schreibstil gemeint ist. Wenn man über diesen spricht, hat Wolfsteiner hier eine sehr gute Arbeit geleistet. Beim Lesen der Arbeit hatte ich nie Schwierigkeiten mit ewig langen Sätzen genauso wenig wie mit einer übertriebenen Verwendung von Fachbegriffen. Meiner Meinung nach hat die Autorin hier eine sehr schöne, fast schon goldene Mitte gefunden und ich werde mich definitiv von ihr inspirieren lassen.
Umfang der Arbeit
Die Arbeit ist 111 Seiten lang und entspricht somit einer durchschnittlichen Diplomarbeit. Ich finde, dass in dieser Länge alle besprochenen Themen gut abgearbeitet, hinterfragt und neu beleuchtet werden.
Orthografie sowie Sorgfalt und Genauigkeit
Zu diesem Punkt kann ich nicht viel sagen, da ich während dem Lesen der Arbeit auf keinen einzigen Rechtschreibfehler gestoßen bin. Es war vielleicht der ein oder andere Beistrichfehler dabei, allerdings sind diese Regelungen in der deutschen Sprache mittlerweile schon so dehnbar, dass ich mir da nie ganz sicher bin. Wie auch immer, es gab keinen Fehler, der so gravierend war, dass er meinen Lesefluss gestört hätte.
Literatur
Am Ende der Arbeit befinden sich etwas mehr als 6 Seiten mit bibliographischen Quellen. Ich finde, dass das eine gute Anzahl für die Länge der Arbeit (111 Seiten) ist. Im Fließtext hat die Autorin mit Fußnoten gearbeitet.
Strukturiert wurden die Quellen je nachdem ob sie Internetquellen, audiovisuelle Quellen, oder Standardquellen sind. Innerhalb dieser Kategorien sind die Angaben jeweils alphabetisch geordnet.
Bibliografische Angabe im Chicago Stil
Wolfsteiner, Annika. „Der Bergfilm – diachrone Analyse eines Genres“ Diplomarbeit, Universität Wien, 2012.
The master’s thesis I chose for my analysis is as follows:
Guillaume Nicolas and Manuel Martins Da Silva, “AI-based production of content: obstacles, threats, and opportunities,” PhD diss., Louvain School of Management, Université catholique de Louvain, 2021, http://hdl.handle.net/2078.1/thesis:30296.
Level of design
The thesis looks just about exactly how one would expect a master’s thesis from a non design-centred institute to look. It is quite clean and uses a serif font in 12pt with 1,5 lines of spacing. Interestingly, the page numbers are in the sans-serif Calibri, which causes an aesthetically displeasing dissonance throughout the paper.
Degree of innovation
I think with any paper on AI, innovation is a two-sided sword. On one side, the mere capabilities of modern AI are incredibly innovative, so analysing them in a scientific context is too, however, as the technology is developing so rapidly, even the most innovative of papers will get outdated inevitably.
Independence
The paper was written by two students at the Louvain School of Management, Guillaume Nicolas & Manuel Martins de Silva, and was supervised by Paul Belleflamme. The paper seems to be independently written, but does frequently cite a conversation the authors had with their supervisor and lists a work of Belleflamme in their Bibliography.
Outline and structure
The paper is divided into three parts, each containing 2-5 chapters. The way these are listed is strange, however. I’m not sure if this is a standard for any kind of academic work, but the chapter numbers reset in new parts of the paper, meaning there are multiple Chapter 1s and/or Chapter 1.1s. This makes looking for specific parts in the paper slightly annoying and unnecessarily complicated.
Degree of communication
The wording of the paper is quite casual, yet leaves no claim unbacked. This makes for a comfortable read while never leaving the reader in the dark about where any piece of information came from. I found that particularly the historic sections of the paper are very digestible.
Scope of the work
At first glance the scope of the paper seems immense, given its title of ‘AI-based production of content’ implying that the paper is concerned with content creation itself. However, the paper is more concerned on the marketing and management side of things, comparing different business models of AI-based companies and analysing potential obstacles, threats and opportunities. While I can’t accurately judge the scope of work in a marketing and management context, the paper’s length of over 200 pages including its five interviews, one can assume that a lot of time and effort went into it.
Orthography and accuracy
As far as the main body of work goes, I was not able to notice any grammatical or spelling mistakes, in some interviews, however, some questionable grammar is noticeable, but that’s to be expected from spoken interviews, especially since I assume most of the interviews were conducted in a non-English language and then translated back to English.
Literature
The almost 30 page long bibliography includes websites, legal texts, physical as well as electronic books, journal articles and just about every other kind of media one can imagine, not even counting the interviews. The sheer number of literary sources is of course impressive, but I also found that the way they were being used in the paper was reader-friendly.
Good News: Es gibt endlich ein Werkstück zu meiner Masterarbeit. Der kurze cinematische Werbefilm wird sich mit den Themen Klimawandel und Bergführen beschäftigen und gemeinsam mit einem österreichischen Verein (wo noch abgeklärt werden muss, ob ich da Namen nennen darf) gemacht.
Die Drehs starten schon im Februar, weshalb jetzt eine sehr intensive Zeit der Vorproduktion beginnt. Deshalb haben Jona und ich (er unterstützt mich bei der Umsetzung des Projekts) uns für ein ausgedehntes Meeting am 24.11. getroffen. Hier ging es primär um ein erstes Strukturieren des Projekts und die Vorbereitungen für das erste Meeting mit dem Kunden.
Erste Schritte
Bevor wir genauer über die einzelnen Themen geredet haben, wurde zuerst eine grobe Struktur erstellt, in die wir Budget, Termine, etc. dann eintragen können. Hier haben wir uns fürs Arbeiten in Notion entschieden. Dort haben wir jetzt einen Workspace für Produktion und Termine, Braindump, Meeting Protokolle, Skript, Treatment, Budgetplanung und Abrechnung. Der Vorteil ist, dass man die Notion Seiten sehr einfach teilen kann und die Verwendung ist gratis. Tabellen können jederzeit exportiert werden, genau wie die Sheets und To-Do Listen.
Hier sieht man einen Screenshot aus den To-Do Listen. Man kann die Ansicht mit einem Klick auf Timeline ändern. So hat man einen Überblick über alle Tasks, ihren Status und in welcher Drehphase man sich gerade befindet.
Budget
Da das Budget immer ein großer Point of Interest bei der Drehplanung ist, wollte ich diesen Punkt kurz noch einmal separat ansprechen. Nachdem ich noch nicht einmal ein in-person Meeting mit dem Kunden hatte, ist das Budget bis jetzt nur sehr beschränkt.
Die Kosten, die momentan in der Planung stehen, haben sich während einem Telefonat ergeben. Da der Förderauftrag, der schon letzte Woche vom Verein abgegeben werden musste, nur die Reisekosten abdecken kann, sind auch nur diese bis jetzt eingeplant. Sie haben sich dadurch ergeben, dass ich mir den Preis der Öffiverbindungen und den gesetzlich errechneten Kilometergeldbetrag angesehen habe und einen Durchschnittswert pro Reisetag (Hin- und Rückreise) vor angeschlagen habe. Diese Kosten sind für jeweils 2 Personen berechnet, da Jona und ich vermutlich an allen drei Drehtagen vor Ort sein werden.
Weitere Kosten, die sicherlich anfallen werden (Equipment, etc.), werden voraussichtlich durch Sponsoren des Vereins abgedeckt. Darüber wird allerdings im 1. Meeting genauer gesprochen.
Meeting Agenda
Der letzte größere Punkt, über den wir uns Gedanken gemacht haben war die Agenda für unser Kick-Off Meeting. Diese Punkte sind noch nicht nach Relevanz geordnet und auch nicht vollständig, weil ich mir nicht sicher war, ob ich sie schon hier teilen darf.
Was Notion hier wiederum gut macht ist die Möglichkeit der ausklappbaren Punkte. So kann ich beim Meeting zu jedem Punkt was dazuschreiben und muss mir keine Sorgen machen, dass ich danach 3 Seiten Notizen ohne Layout habe.
Ein Termin für dieses Meeting ist grade im Prozess des Ausmachens. Bis dahin werde ich weiter meine Moodboards ausfeilen und mir schon eine Konzeptidee überlegen, die von meiner Seite aus am besten fürs Projekt und für meine Masterarbeit passen könnte.
Insgesamt hat unser Meeting ca. 4 Stunden gedauert. Für den weiteren Workflow habe ich geplant, über die Weihnachtsfeiertage das Skript und die Vorproduktion für den Winterdreh (1 Tag, vermutlich im Februar) abzuschließen.
This will be more of a free form reaction and thoughts written down, in response to Apple’s upcoming mixed reality headset, as well as critical feedback of the community mixed with my own. As always, it goes without saying that in the Apple trailer itself, the product is presented as the next best thing, absolutely revolutionary. Seeing as I work with AR, VR and mixed reality headsets every day I was also reasonably excited to see the announcement.
Ultimately, we will have to wait and see how Apple will deliver on the promises they have made throughout this first reveal, but so far the public reception has of course been mixed. Many are sceptical, but most early reviews of influencers and writers that have gotten the opportunity to test a prototype out in person are actually pleasantly surprised by the sheer quality off the product. The main point of praise almost everybody found was the passthrough cameras. Passthrough modes have been a thing in mixed reality headsets for a while now, however most of them only use it as a way of orienting oneself in physical space, almost like a setup progress, before actually diving into VR. With their (apparently) extremely high quality cameras providing “crystal clear” passthrough footage, Apple intends to make it a key feature to seamlessly integrate being able to view your surroundings into workflows. According to testers, the passthrough quality even allowed the use of a phone while wearing the headset, which, according to personal experience, is something that no other headset on the market right now can remotely offer.
While these features are of course impressive and there are many more to dive into and analyse, we shall see what actually happens. In the meantime I would like to share my opinion on the general development this means for the whole industry. No matter what someones opinion is on Apple, their philosophy is repeatedly pushing boundaries in whatever area they operate. This is the reason why I am especially excited about the announcement of them dipping their toes into the mixed reality field. Not because of what they eventually bring to the table (that too, of course) but more so because of these new approaches that will start out expensive and gimmicky, but will eventually be made more accessible and cheaper through its next generations.
