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• Use data to develop impactful video content

  28 septembre 2021, par Ben Erskine — Analytics Tips, Plugins

  Creating impactful video content is at the heart of what you do. How you really engage with your audience, change behaviours and influence customers to complete your digital goals. But how do you create truly impactful marketing content ? By testing, trialling, analysing and ultimately tweaking and reacting to data-informed insights that gear your content to your audience (rather than simply producing great content and shooting arrows in the dark).

  Whether you want to know how many plays your video has, finish rates, how your video is consumed over time, how video was consumed on specific days or even which locations users are viewing your video content. Media Analytics will gather all of your video data in one place and provide answers to all of these questions (and much more).

  

  What is impactful video content ?

  Impactful video content grabs your audience’s attention, keeps their attention and promotes them to take measurable action. Be that time spent on your website, goal completion or brand engagement (including following, commenting or sharing on social). Maybe you’ve developed video content, had some really great results, but not consistently, nor every time and it can be difficult to identify what exactly it is that engages and entices each and every time. And we all want to find where that lovely sweet spot is for your audience.

  Embedded video on your website can be a marketing piece that talks about the benefits of your product. Or can be educational or informative that support the brand and overall impression of the brand. And at the very best entertaining at the same time. 

  84% of people say that they’ve been convinced to buy a product or service by watching a brand’s video. Building trust, knowledge and engagement are simply quicker with video. Viewers interact more, and are engaged longer with video, they are more likely to take in the message and trust what they are seeing through educational, informative or even entertaining video marketing content than solely through reading content on a website. And even better they take action, complete goals on your website and engage with your brand (potentially long term).

  It is not only necessary to have embedded video content on your website, it needs to deliver all the elements of a well functioning website, creating the very best user experience is essential to keeping your viewers engaged. This includes ensuring the video is quick to load, on-brand, expected (in format and tone) and easy to use and/or find. Ensuring that your video content is all of these things can mean that your website users will stick around longer on your website, spend more time exploring (and reading) your website and ultimately complete more of your goals. With a great user experience, your users, in turn, are more likely to come back again to your website and trust your brand. 

  All great reasons to create impactful video content that supports your website and brand ! And to analyse data around this behaviour to repeat (or better) the video content that really hits the mark.

  

  Let’s talk stats

  In terms of video marketing, there are stats to support that viewers retain 95% of a message when they view it in a video format. The psychology behind this should be fairly obvious. It is easier (and quicker) for humans to consume video and watch someone explain something than it is to read and take action. Simply look at the rise of YouTube for explanatory and instructional video content !

  And how about the 87% of marketers that report a positive ROI on using video in their marketing ? This number has steadily increased since 2015 and matches the increase in video views over the years. This should be enough to demonstrate that video marketing is the way forward, however it needs to be the right type of video to create impact and engagement.

  Do you need more reasons to consider honing and refining your video content for your audience ? And riding this wave of impactful video marketing success ?

  

  But, how do we do that ?

  So, how do you make content that consistently converts your audience to engaged customers ? The answer is in the numbers. The data. Collecting data on each and every piece of media that is produced and put out into the world. Measuring everything, from where it is viewed, how it is viewed, how much of it is viewed and what is your viewer’s action after the fact.

  While Vimeo and YouTube have their own video analytics they are each to their own, meaning a lot more work for you to combine and analyse your data before forming insights that are useful. 

  Your data is collected by external parties, and is owned and used by these platforms, for their own means. Using Web Analytics from Matomo to collect and collate media data can mean your robust data insights are all in one place. And you own the data, keeping your data private, clean and easy to digest. 

  Once your data is across a single platform, your time can be spent on analysing the data (rather than collating) and discovering those super valuable insights. Additionally, these insights can be collated and reported, in one place, and used to inform future digital and video marketing planning. Working with the data and alongside creative teams to produce video that talks to your audience in an impactful way.

  The more data that is collected the deeper the insights. Saving time and money across a single platform and with data-backed insights to inform decisions that can influence the time (and money) spent producing video content that truly hits the mark with your audience. No more wasted investment and firing into the dark without knowledge. 

  Interrogating the ideal length of your video media means it is more likely to be viewed to the end. Or understanding the play rate on your website of any video. How often is the video played ? And which is played more often ? Constant tweaking and updating of your video content planning can be informed by data-driven human-centric insights. By consistently tracking your media, analysing and forming insights you can build upon past work, and create a fuller picture of who your audience is and how they will engage with future video content. Understanding your media over time can lead to informed decisions that can impact the video content and the level of investment to deliver ROI that means something.

  

  Wrap Up

  Media Analytics puts you at the heart of video engagement. No more guessing at what your audience wants to see, how long or when. Make every piece of video content have the impact you want (and need) to drive engagement, goal completion and customer conversion. Create a user experience that keeps your users on your website for longer. Delivering on all of those delicious digital marketing goals and speaking the language of key stakeholders throughout the business. Back your digital marketing, with truly impactful content, and above all else deliver to your audience content that keeps them engaged and coming back for more.

  Don’t just take our word for it ! Take a look at what Matomo can offer you with streamlined and insightful Media Analytics, all in one place. And go forth and create impactful content, that matters.

  Next steps :

  Check out our detailed user guide to Media Analytics

  Or, if you have questions, see our helpful Video & Audio Analytics FAQ’s

• avcodec/jpegtables : Unavpriv MJPEG-tables

  10 février 2021, par Andreas Rheinhardt

  avcodec/jpegtables : Unavpriv MJPEG-tables
  There are seven MJPEG-tables, five small (1x12, 4x17) and two
  
  not small (2x162). These are all avpriv, despite this not being
  
  worthwhile due to the overhead of exporting a symbol : The total
  
  overhead for each symbol consists of two entries in .dynsym (24B each),
  
  one entry in the importing library's .rela.dyn (24B) and one in .got
  
  (8B) as well as 2x2B for symbol versions and 4B for symbol hashes
  
  in the exporting library ; in addition to that, the name of the symbol
  
  is included in both exporting and importing libraries, using 2x210 bytes
  
  in this case.
  
  (The above numbers are for a x64 Elf/Linux/GNU system. Other platforms
  
  will give different numbers.)
  Signed-off-by : Andreas Rheinhardt <andreas.rheinhardt@outlook.com>
  

  • [DH] configure
  • [DH] libavcodec/Makefile
  • [DH] libavcodec/g2meet.c
  • [DH] libavcodec/jpegtables.c
  • [DH] libavcodec/jpegtables.h
  • [DH] libavcodec/jpegtabs.h
  • [DH] libavcodec/ljpegenc.c
  • [DH] libavcodec/mjpeg2jpeg_bsf.c
  • [DH] libavcodec/mjpegdec.c
  • [DH] libavcodec/mjpegenc.c
  • [DH] libavcodec/mjpegenc_common.c
  • [DH] libavcodec/mss4.c
  • [DH] libavcodec/vaapi_encode_mjpeg.c
  • [DH] libavformat/Makefile
  • [DH] libavformat/jpegtables.c
  • [DH] libavformat/rtpdec_jpeg.c
  • [DH] libavformat/rtpenc_jpeg.c

• Understanding The Dreamcast GD-ROM Layout

  24 mars 2022, par Multimedia Mike — Sega Dreamcast

  I’m finally completing something I set out to comprehend over a decade ago. I wanted to understand how data is actually laid out on a Sega Dreamcast GD-ROM drive. I’m trying to remember why I even still care. There was something about how I wanted to make sure the contents of a set of Dreamcast demo discs was archived for study.

  
  
  

  I eventually figured it out. Read on, if you are interested in the technical details. Or, if you would like to examine the fruits of this effort, check out the Dreamcast demo discs that I took apart and uploaded to the Internet Archive.

  If you care to read some geeky technical details of some of the artifacts on these sampler discs, check out this followup post on Dreamcast Finds.

  Motivation
  Why do I still care about this ? Well, see the original charter of this blog above. It’s mostly about studying multimedia formats, as well as the general operation of games and their non-multimedia data formats. It’s also something that has nagged at me ever since I extracted a bunch of Dreamcast discs years ago and tried to understand why the tracks were arranged the way they were, and how I could systematically split the files out of the filesystem. This turns out not to be as easy as it might sound, even if you can get past the obstacle of getting at the raw data.
  

  CD/CD-ROM Refresher
  As I laid out in my Grand Unified Theory of Compact Disc, every compact disc can be viewed conceptually as a string of sectors, where each sector is 2352 bytes long. The difference among the various CD types (audio CDs, various CD-ROM types) boils down to the format of contents of the 2352-byte sectors. For an audio CD, every sector’s 2352 bytes represents 1/75 of a second of CD-quality audio samples.

  Meanwhile, there are various sector layouts for different CD-ROM modes, useful for storing computer data. This post is most interested in “mode 1/form 1”, which uses 2048 of the 2352 bytes for data, while using the remaining bytes for error detection and correction codes. A filesystem (usually ISO-9660) is overlaid on these 2048-byte sectors in order to create data structures for organizing strings of sectors into files.

  A CD has between 1 and 99 tracks. A pure CD-ROM will have a single data track. Pure audio CDs tend to have numerous audio tracks, usually 1 per song. Mixed CDs are common. For software, this usually manifests as the first track being data and containing an ISO-9660 filesystem, followed by a series of audio tracks, sometimes for in-game music. For audio CDs, there is occasionally a data track at the end of the disc with some extra media types.

  GD-ROM Refresher
  The Dreamcast used optical discs called GD-ROMs, where the GD stands for “gigadisc”. These discs were designed to hold about 1 gigabyte of data, vs. the usual 650-700MB offered by standard CD solutions, while using the same laser unit as is used for CDs. I’m not sure how it achieved this exactly. I always assumed it was some sort of “double density” sector scheme. According to Wikipedia, the drive read the disc at a slower rate which allowed it to read more data (presumably the “pits” vs. “lands” which comprise the surface of an optical disc). This might be equivalent to my theory.

  The GD-ROM discs cannot be read in a standard optical drive. It is necessary to get custom software onto the Dreamcast which will ask the optical hardware to extract the sectors and exfiltrate them off of the unit somehow. There are numerous methods for this. Alternatively, just find rips that are increasingly plentiful around the internet. However, just because you might be able to find the data for a given disc does not mean that you can easily explore the contents.

  Typical Layout Patterns
  Going back to my study of the GD-ROM track layouts, 2 clear patterns emerge :

  All of the game data is packed into track 3 :

  
  
  

  Track 3 has data, the last track has data, and the tracks in between contain standard CD audio :

  
  
  

  Also, the disc is always, always 100% utilized.

  Track 1 always contains an ISO-9660 filesystem and can be read by any standard CD-ROM drive. And it usually has nothing interesting. Track 3 also contains what appears to be an ISO-9660 filesystem. However, if you have a rip of the track and try to mount the image with standard tools, it will not work. In the second layout, the data follows no obvious format.

  Cracking The Filesystem Code
  I figured out quite a few years ago that in the case of the consolidated data track 3, that’s simply a standard ISO-9660 filesystem that would work fine with standard ISO-9660 reading software… if the data track were located beginning at sector 45000. The filesystem data structures contain references to absolute sector numbers. Thus, if it were possible to modify some ISO-9660 software to assume the first sector is 45000, it ought to have no trouble interpreting the data.

  
  
  

  How about the split data track format ? Actually, it works the same way. If all the data were sitting on its original disc, track 3 would have data structures pointing to strings of contiguous sectors (extents) in the final track, and those are the files.

  To express more succinctly : track 3 contains the filesystem root structure and the directory structures, while the final track contains the actual file data. How is the filesystem always 100% full ? Track 3 gets padded out with 0-sectors until the beginning of any audio sectors.

  
  
  

  Why Lay Things Out Like This ?
  Why push the data as far out on the disc as possible ? A reasonable explanation for this would be for read performance. Compact discs operate on Constant Linear Velocity (CLV), vs. Constant Angular Velocity (CAV). The implication of this is that data on the outside of the disc is read faster than data on the inside. I once profiled this characteristic in order to prove it to myself, using both PC CD drives as well as a Dreamcast. By pushing the data to the outer sectors, graphical data gets loaded into RAM faster, and full motion videos, which require a certain minimum bitrate for a good experience, have a better guarantee that playback will be smooth.

  Implications For Repacking
  Once people figured out how to boot burned CDs in the Dreamcast, they had a new problem : Squeeze as much as 1 gigabyte down to around 650 megabytes at the most. It looks like the most straightforward strategy was to simply rework the filesystem to remove the often enormous amount of empty space in track 3.

  My understanding is that another major strategy is to re-encode certain large assets. Full motion video (FMV) assets are a good target here since the prevailing FMV middleware format used on Sega Dreamcast games was Sofdec, which is basically just MPEG-1 video. There is ample opportunity to transcode these files to lower bitrate settings to squeeze some bits (and a lot of visual quality) out of them.

  Further, if you don’t really care about the audio tracks, you could just replace them with brief spurts of silence.

  Making A Tool
  So I could make a tool that would process these collections of files representing a disc. I could also adapt it for various forms that a Dreamcast rip might take (I have found at least 3 so far). I could eventually expand it to handle lots of other disc formats (you know, something like Aaru does these days). And that would have been my modus operandi perhaps 10 or more years ago. And of course, the ambitious tool would have never seen daylight as I got distracted by other ideas.

  I wanted to get a solution up and running as quickly as possible this time. Here was my initial brainstorm : assemble all the tracks into a single, large disc while pretending the audio tracks consist of 2048-byte sectors. In doing so, I ought to be able to use fuseiso to mount the giant image, with a modification to look for the starting sector at a somewhat nonstandard location.

  To achieve the first part I wrote a quick Python script that processed the contents of a GDI file, which was stored alongside the ISO (data) and RAW (audio) track track rips from when I extracted the disc. The GDI is a very matter-of-fact listing of the tracks and their properties, e.g. :

  5
  1 0 4 2048 track01.iso 0
  2 721 0 2352 track02.raw 0
  3 45000 4 2048 track03.iso 0
  4 338449 0 2352 track04.raw 0
  5 349096 4 2048 track05.iso 0
  

  track number / starting sector / track type (4=data, 0=audio) / bytes per sector / filename / ??

  The script skips the first 2 filenames, instead writing 45000 zero sectors in order to simulate the CD-compatible area. Then, for each file, if it’s an ISO, append the data to the final data file ; if it’s audio, compute the number of sectors occupied, and then append that number of 2048-byte zero sectors to the final data file.

  Finally, to interpret the filesystem, I used an old tool that I’ve relied upon for a long time– fuseiso. This is a program that leverages Filesystem in Userspace (FUSE) to mount ISO-9660 filesystems as part of the local filesystem, without needing root privileges. The original source hasn’t been updated for 15 years, but I found a repo that attempts to modernize it slightly. I forked a version which fixes a few build issues.

  Anyway, I just had to update a table to ask it to start looking for the root ISO-9660 filesystem at a different location than normal. Suddenly, after so many years, I was able to freely browse a GD-ROM filesystem directly under Linux !

  Conclusion And Next Steps
  I had to hack the fuseiso3 tool a bit in order to make this work. I don’t think it’s especially valuable to make sure anyone can run with the same modifications since the tool assumes that a GD-ROM rip has been processed through the exact pipeline I described above.

  I have uploaded all of the North American Dreamcast demo discs to archive.org. See this post for a more granular breakdown of what this entails. In the course of this exercise, I also found some European demo discs that could use the same extraction.

  What else ? Should I perform the same extraction experiment for all known Dreamcast games ? Would anyone care ? Maybe if there’s a demand for it.

  Here is a followup on the interesting and weird things I have found on these discs so far.

  The post Understanding The Dreamcast GD-ROM Layout first appeared on Breaking Eggs And Making Omelettes.