Revver – Step by Step Guide to Revver
Getting Started with Revver
Four quick reasons to use Revver

1. The deal is simple: advertisers’ money is split 50/50 between the video’s author and Revver. If there’s an affiliate involved (for example: a site that posts or links to your video) they get 20%, and the rest is split 50/50.

2. We use Creative Commons licenses in most cases. Listen to Lawrence Lessig (Founder, Creative Commons) discuss Revver. PLAY»

3. Signing up is quick and easy. Uploading videos is drag & drop.

4. Our website revver.com, has tens of thousands of viewers. Your video will be posted there, and if it gets high ratings, more people will watch it. The more people that watch it, the more clicks the ad will get and the more money the video will generate.

Revver attaches short advertisements to the end of videos that are uploaded to the Revver website.

Since the Revverized ad is embedded in your video, and can be changed anytime, you get paid no matter where your video may go regardless if it is:

* E-mailed to friends
* Burned to a CD
* Uploaded to another popular website
* Shared via P2P or IM
* Linked on del.icio.us, digg.com, myspace.com, your own blog, or anywhere else

No matter how it gets there, when people click on the ad, you get paid. Don’t like certain kinds of ads? We let you specify which ads you want associated with your video.

We even host your video for free. Sure, everybody does that now but we are unique as we are the only service that gets you paid.

And if you link to somebody else’s Revver video on your site, you can even get paid as an affiliate.

Ready to get started? Sign up now »

Momentshowing: Community Capitalism

all about it! 

Maybe u knew… if not… whatcha think?

“The licenses give creators a simple way to mark their creativity with
the freedoms they want it to carry by default. The license is an
invitation to others to ask for permission for uses beyond those
given by default. A “Noncommercial” license does not mean the creator
would never take money for his or her creativity. It means simply,
“Ask if you want to make a commercial use. No need to ask if you want
to make just a noncommercial use.”

We launched Creative Commons in December, 2002. Within a year, we
counted over 1,000,000 link-backs to our licenses. At a year and a
half, that number was over 1,800,000. At two, the number was just
about 5,000,000. At two and a half years (last June), the number was
just over 12,000,000. And today — three months later — Yahoo!
reports over 50,000,000 link-backs to our licenses. “Link-backs” are
not really a count of how many objects are licensed under Creative
Commons licenses – a single license could cover 100,000 songs in a
music database for example, or a single blog might have multiple
instances of the license. But the growth does measure something: The
uptake of Creative Commons licenses is growing fast, and indeed, far
faster than I ever dreamed.”

———- Forwarded message ———-
From: Lawrence Lessig <lessig@pobox.com >
Date: Oct 6, 2005 12:12 PM
Subject: [cc-info] CC in Review: Lawrence Lessig on Supporting the Commons
To: cc-info@lists.ibiblio.org

So today, Creative Commons launches its first fund raising campaign.
Until now, we’ve lived on very generous grants from some very wise
foundations. But the IRS doesn’t allow nonprofits to live such
favored lives for long. To maintain our nonprofit status, the IRS
says we must meet a “public support test” — which means we must
demonstrate that our support comes from more than a few foundations.
And thus, this campaign.

This email is a pitch, asking for your support. But it is also the
first in a series of emails I will write explaining what Creative
Commons is, and where we’re going with it. This is something I should
have done long ago. There have been many thoughtful (even if some not
so thoughtful) questions raised about who we are, and where we’re
going. I’ve wanted an excuse to answer them thoughtfully before. The
IRS has given me that excuse.

You’re on this list because you’ve signed up to receive information
about Creative Commons or been a friend to CC in the past. If these
weekly emails from me (from now until Christmas, around 500 words in
length, except for this one which is a bit long) will be a bother,
please unsubscribe at
http://creativecommons.org/about/newsletter#unsubscribe .
Alternatively, if you know others who might find these interesting,
please recommend they sign up at
http://creativecommons.org/about/newsletter.

This first email won’t have much news to current friends of Creative
Commons. You probably know all this. My aim in this initial missive
is to explain what Creative Commons is, and why we launched it. There
will be some bragging about what we’ve accomplished so far. Don’t
worry, these emails are from me, and not a press department. There
will be plenty of self-criticism later on. For the moment, let’s
focus on the positive idea that got CC going.

CC: The Story

Creative Commons was conceived in a conversation I had with Eric
Eldred. I was representing Eric in his case challenging the United
States Congress’ Copyright Term Extension Act. Eric was enthusiastic
about the case, but not optimistic about the results. Early on, he
asked me whether there was a way that we could translate the energy
that was building around his case into something positive. Not an
attack on copyright, but a way of using copyright to support, in
effect, the public domain.

I readily agreed, not so much because I had a plan, but because,
naive lawyer that I was, I thought we’d win the case, and Eric would
forget the dream. But nonetheless, long before the Supreme Court
decided to hear Eldred’s plea, a bunch of us had put together the
plan to build the Creative Commons.

We stole the basic idea from the Free Software Foundation — give
away free copyright licenses. Because copyright is property, the law
requires that you get permission before you “use” a copyrighted work,
unless that use is a “fair use.” The particular kind of “use” that
requires permission is any use within the reach of the exclusive
rights that copyright grants. In the physical world, these “exclusive
rights” leave lots unregulated by copyright. For example, in the real
world, if you read a book, that’s not a “fair use” of the book. It is
an unregulated use of the book, as reading does not produce a copy
(except in the brain, but don’t tell the lawyers).

But in cyberspace, there’s no way to “use” a work without
simultaneously making a “copy.” In principle, and again, subject to
fair use, any use of a work in cyberspace could be said to require
permission first. And it is that feature (or bug, depending upon your
perspective) that was the hook we used to get Creative Commons going.

The idea (again, stolen from the FSF) was to produce copyright
licenses that artists, authors, educators, and researchers could use
to announce to the world the freedoms that they want their creative
work to carry. If the default rule of copyright is “all rights
reserved,” the express meaning of a Creative Commons license is that
only “some rights [are] reserved.” For example, copyright law gives
the copyright holder the exclusive right to make “copies” of his or
her work. A Creative Commons license could, in effect, announce that
this exclusive right was given to the public.

Which freedoms the licenses offer is determined both by us (deciding
which freedoms are important to secure through CC licenses) and by
the creator who selects from the options we make available on our
website. The basic components have historically been four: (1)
Attribution (meaning the creator requires attribution as a condition
of using his or her creative work), (2) NonCommercial (meaning the
creator allows only noncommercial uses of his or her work), (3) No
Derivatives (meaning the creator asks that the work be used as is,
and not as the basis for something else), and (4) Share Alike
(meaning any derivative you make using the licensed work must also be
released under a Share Alike license).

These four options — when each is an option — produce 11 possible
licenses. But when we saw that 98% of our adopters chose the
“attribution” requirement, we decided to drop attribution as an
option. That means we now offer 6 core licenses:

(1) Attribution (use the work however you like, but give me attribution)
(2) Attribution-ShareAlike (use the work however you like, but give
me attribution, and license any derivative under a Share Alike license)
(3) Attribution-NoDerivatives (use the work as is, and give me
attribution)
(4) Attribution-NonCommercial (use the work for noncommercial
purposes, and give me attribution)
(5) Attribution-NonCommercial-NoDerivatives (use the work for
noncommercial purposes, as is, and with attribution)
(6) Attribution-NonCommercial-ShareAlike (use the work for
noncommercial purposes, give me attribution, and license any
derivative under a ShareAlike license)

(We also offer a couple of other specialty licenses that I’ll
describe in a later post).

These options get added to a basic template license. That template
assures that the creator (1) retains his or her copyright, (2)
affirms that any fair use, first sale, or free expression rights are
not affected by the CC license, and (3) so long as the adopter
respects the conditions the creator has imposed, the license gives
anyone in the world four freedoms: (i) to copy the work, (ii) to
distribute the work, (iii) to display or publicly perform the work,
and (iv) to make a digital public performance of the work (i.e.,
webcasting). Finally, the license also requires the adopter to (1)
get permission for any uses outside of those granted, (2) keep any
copyright notices intact, (3) link to the license, (4) not alter the
license terms, and (5) not use technology (i.e., DRM) to restrict a
licensee’s rights under the license.

The licenses give creators a simple way to mark their creativity with
the freedoms they want it to carry by default. The license is an
invitation to others to ask for permission for uses beyond those
given by default. A “Noncommercial” license does not mean the creator
would never take money for his or her creativity. It means simply,
“Ask if you want to make a commercial use. No need to ask if you want
to make just a noncommercial use.”

We launched Creative Commons in December, 2002. Within a year, we
counted over 1,000,000 link-backs to our licenses. At a year and a
half, that number was over 1,800,000. At two, the number was just
about 5,000,000. At two and a half years (last June), the number was
just over 12,000,000. And today — three months later — Yahoo!
reports over 50,000,000 link-backs to our licenses. “Link-backs” are
not really a count of how many objects are licensed under Creative
Commons licenses – a single license could cover 100,000 songs in a
music database for example, or a single blog might have multiple
instances of the license. But the growth does measure something: The
uptake of Creative Commons licenses is growing fast, and indeed, far
faster than I ever dreamed.

Next week: What problems did we aim to solve and what examples from
the past did we learn from.

To link to or comment on this message, go to:
http://creativecommons.org/weblog/entry/5661

To support Creative Commons, go to:
http://creativecommons.org/support

For more on the licenses, see
http://creativecommons.org/about/licenses/fullrights

For comics and movies: http://creativecommons.org/about/licenses/how1,
http://mirrors.creativecommons.org/

_______________________________________________
cc-info mailing list

To unsubscribe visit
http://creativecommons.org/about/newsletter#unsubscribe

Or send email with “unsubscribe” as subject to
cc-info-request@lists.ibiblio.org

Creative Commons newsletters are also posted to the CC Weblog. For back
issues please visit http://creativecommons.org/weblog/


Thomas G Henry
Phone: 845.22.88.555
Skype: ThomasGHenry

Community Media
http://ValleyVlog.blogspot.com

Another Look:
http://www.LucidFluid.com

Boxes Still Merging (yum)

September 27, 2005

Technology | Reuters.co.in: “Many Internet industry watchers see online video as a potential growth area for the Web search sector, where profits are being fueled in part by advertisers’ decision to follow audiences from television to the Internet.”

Setpixel // Index

September 22, 2005

this shit is tha hott jam… like toast

Hello Everyone!

Thanks for checking out Valley Vlog! For our first post here Vanessa Lucas and Thomas G Henry set out to discover what new and exciting thing the Dutchess County Arts Council has to offer local artists. There’s quite a few free resources and great programs so listen up and get ready to take your creations to the next level whatever your medium.


Click to View

There are also two free weekly mailing lists (one on Artist Resources and one about Current Arts Events.) Please Email Loretta Spence to subscribe.

To volunteer, to take advantage of any of these great resources, or for more information please call

845.454.3222

or visit ArtsMidHudson.org.

Thx for watching folks! And thx to Loretta Spence and the Dutchess County Arts Council for taking the time to chat, existing, and being all around awesome!