Pinterest is increasingly not just for photos anymore. The company today announced that users can now pin Vimeo videos on the virtual pinboard site. This is the second video integration available on Pinterest — the site rolled out support for YouTube videos back in August 2011.

The Vimeo integration could very well push video pinning to a new level of usage. Vimeo is known for attracting videos from a more artsy and design-conscious crowd, and its aesthetic should plug in perfectly with Pinterest’s passionately visual user base. It’ll be interesting to watch how video grows on Pinterest going forward.

Pinterest announced the new Vimeo integration in a post on its company blog:

“The Pin It bookmarklet can now pin Vimeo videos in addition to YouTube! Pinning from Vimeo works the same way that pinning from YouTube does, so if you haven’t already, install the Pin It bookmarklet to your browser’s bookmarks bar following the directions here. Then you can pin from Vimeo.com and from pages that have embedded Vimeo videos.”

Meanwhile, the incredibly popular Pinterest is widely understood to be the belle of the ball in the eyes of the industry’s most powerful venture capitalists, with investment offers on the table that would value the company at a reported $1 billion. But today’s new feature release shows that the Pinterest team is staying focused on the product development that made it such a star in the first place, despite the buzz about what’s happening on the company’s corporate side.

I love finding services that bring value to small businesses. Viewbix falls squarely into that category.

ViewBix comes from the founders of Qoof, who gave agencies and advertisers a way to easily create interactive videos. The need for customization, however, tended to bring a lot of friction to the selling process.

For SMBs, it was pretty much completely out of scope. This was frustrating for Qoof’s founders, who were noticing growing demand in that vertical.

Viewbix was created to dramatically reduce the aforementiond friction that came with customization, allowing videos to be wrapped-up in a variety of features quite effortlessly. Here’s how it works:

Step one is to select an existing video. ViewBix currently supports YouTube, Vimeo and Facebook video. Step two is to customize the player in terms of colors, size, call to action, etc.

Step three is really where the promise of ViewBix resides: interactive features that can be easily added to videos, including music, additional videos, photos from services such as Facebook, Flickr & Picasa, and more. The ones I found most compelling for a small businesses are the ability to include a Twitter feed, eBay auctions, coupons, and Skype integration.

Once the player is created, it can be embedded and shared anywhere, including inline on Facebook. It will even display in HTML5 on mobile devices (iOS and Android).

You can check out ViewBix in action, here and here.

Viewbix tracks every action that occurs in the player, so more savvy users can dig into the data and optimize their players with the best performing apps.

The service is based on a freemium model with a base product that is currently free. In the near future, Viewbix plans to charge a monthly fee, starting at $14.95/mo, for branded players, premium apps and detailed analytics.

At F8 on Thursday, The Social Network will by all accounts be making its official foray into music, with scrobbling and music content galore headed straight for our news feeds. Ahead of Facebook’s new music service, Vimeo is announcing its own musical news, thank you very much, that has some interesting implications for artists and filmmakers and music technology. You may know Vimeo as the quality YouTube alternative that’s long been a place for semi-pro videographers, filmmakers, and Vloggers to host, share, and present their video content. Today, Vimeo is taking its long-awaited leap into the music world with the “Vimeo Music Store” — a custom-designed music licensing solution that will allow Vimeo’s video buffs to search for, discover, and license songs for both non-commercial and limited commercial use.

Powering the nuts, bolts, and backend of the Vimeo Music Store will be Audiosocket’s Music-as-a-Service (or MaaS) platform, a cloud solution designed to allow digital media companies to easily integrate music search, discovery, and licensing. The Vimeo Music Store, which represents the first commercial implementation of Audiosocket’s solution, will allow users to take advantage of all the benefits of a music library that contains more than 100 categories of integrated metadata, all from inside the friendly confines of Vimeo’s platform.

Vimeo users will also have the benefit of access to Audiosocket’s library of 33,000+ legit songs in the new music store, enabling the video platform’s users to select and license a wide variety of tracks that they can use as soundtracks for their video productions, with the ability to then distribute them over the Web, and film festivals, and so on, without worrying about an RIAA SWAT team descending from the roof.

On the flip side of the partnership, Audiosocket’s music artists will now have the benefit of a sizable new distribution channel (along with guaranteed royalty payments on licensed music) and exposure to Vimeo’s audience of more than 50 million monthly visitors — many of them semi-pro and professional filmmakers.

On this note, obviously the real key to Vimeo’s music store is that it opens the door for musicians to monetize their work in personal video creation: An area that’s traditionally been tough for artists to make any significant profits. In this way, Audiosocket’s MaaS platform could prove to be a great way for indie musicians to receive both widespread, multimedia exposure (with attributions) and make some extra income, potentially turning Vimeo into an even more appealing musical alternative to YouTube for the world’s melody makers. (Especially as Audiosocket’s catalog specifically features content from emerging bands, composers and record labels, making it a great tool for indie music discovery.)

It’s also great to see the evolution in the relationship between music and technology — and now the cloud — as Audiosocket’s MaaS platform, which is designed for integration into video and photo sharing platforms, virtual worlds, online games and social networks, could have a disruptive effect on the way music is licensed in digital media. And we all know how much music licensing has been in the need of workable, affordable solutions (really, innovation). Just ask Napster.

After all, when you get down to it, amateur filmmakers really have no idea where to start when it comes to music licensing, and vice versa; both parties want to take advantage of the benefits without the hassle, but they’re by and large clueless on where to start.

Of course, it remains to be seen whether Vimeo users will be willing to pay to license Audiosocket’s music content, the pricing structure of which currently stands at $1.99 per track for personal, non-commercial, and web-use for casual users and $98 per track for commercial, web-use licenses for professional users. Thankfully, much of the content will be available for free thanks to Creative Commons Licensing, but professional users may be heard issuing a few groans.

Nonetheless, this could really be a real future-altering partnership for Audiosocket and is no doubt a great bonus for Vimeo users, but it also seems as if the video platform will need to go bigger with its song catalog if it’s to truly make waves.

For more, readers can check out an embeddable widget which includes sample tracks from Audiosocket’s library here and for a look at the Vimeo Music Store, check it out at home here.

Turkish courts have famously banned video sharing juggernaut YouTube several times since March 2007. The site still isn’t accessible, despite the fact that Turkey’s president Abdullah Gül used his Twitter account last June to express disapproval of the country’s blocking of YouTube. Gül at the time said he had instructed officials to find legal ways of allowing access.

But now we’re getting multiple tips about Turkey imposing a new ban on video sharing site Vimeo (an IAC company), and chatter on Twitter suggests this is in fact the case – see #censorshipinturkey and #vimeo for more.

Ironically, Vimeo earlier this month announced the shortlist of videos from its first international Vimeo Awards, which the company organizes to find some of the most creative and innovative video productions online. You guessed it, one of the finalists was actually a video made by a Turkish user.

Arda Kutsal of Webrazzi, our main TechCrunch Europe contributor in Turkey, tells us:

“We don’t know the reason but it may be due to copyright infringement or a video insulting a person. It is just banned as a precaution for now. If Vimeo contacts the authorities and removes the problem content, then the site can be unbanned in 1-10 days.”

We’re updating this post as we learn more.

Update: Murat Guzel, Editor in Chief of PC Extra Magazine checks in:

Vimeo has been blocked for precautional purpuses upon request of a Turkish court, which is part of an ongoing investigation held by the Ankara Prosecution Office. The investigation is related to a video which was published on Vimeo.com, claimed to be recorded secretly via a hidden camera and claimed to belong to a member of the parliament and another person, in which this video is in an act of violating personal life/rights via online or offline media.

Whether so called victim of this video are either a member of the parliament or an ordinary citizen, laws apply for every one of us. Even our president Abdullah Gul has criticised this specific law about banning sites two times in the last 7 days, laws can not change from today to tomorrow.

Our current laws strictly forbids acts of violating personal life, although our judges reluctantly give orders to ban sites which contain materials that contain such videos violating our laws.

I was lucky to reach the attorney who signed this precautional banning order and got the reason behind it, as I’ve outlined briefly above.

(click for large version)

(Top image via ntvmsnbc, screenshot courtesy of @kitiarauthmatar)

Currently only the most popular videos are available and users can link their account for viewing of their own content. There’s also a convenient “Watch Later” queue system to easily build-up a playlist. Look for the Vimeo Channel later today.

No surprises there, but since MeFeedia’s video search engine self-reportedly tracks over 30,000 video sources across the Web, the company slapped some interesting numbers on the most apparent trends.

How many vlog?

While MeFeedia tracked about 20,000 unique vlogs back in 2007, it’s currently keeping tabs on over 110,000, which represents an increase of more than 500% over the past 3 years. International vlog numbers are growing faster than the U.S., with Spanish-language video blogs leading the way.

Turns out all those vloggers are less keen on setting up an independent video blog and rather flocking to the major online video hosting and sharing services to try and attract an audience and make some money off their videos.

Where do they vlog?

Unsurprisingly, the most popular platform is YouTube with 36%, up from 9% based on MeFeedia’s 2007 findings.

After YouTube come Blip.tv with a respectable 14%, Vimeo with 9%, MySpace with 7% and the only European service, DailyMotion, with 3%. About 13% uses other video sharing platforms, although I find it surprising that Facebook didn’t make this list. Independent publishers, meaning vloggers who set up their own websites and video hosting platforms, make up 18% of the pie. The most popular tool for them: WordPress.

Pro vloggers

Professional vloggers (i.e. producers of Web series) tend to follow a dual strategy: posting content on their own websites while syndicating videos to popular video hosting platforms simultaneously.

According to MeFeedia, the average pro-vlogger syndicates their video to 3.6 sites. Their top choices are YouTube, Blip.tv and MySpace Video.

Syndication trends

MeFeedia also spotted some trends in syndication and says Google’s FeedBurner is no longer the “default” syndication mechanism, as MRSS tools have become much more sophisticated over the past few years. They’re also being offered by YouTube, DailyMotion and also Videopress as a built-in feature.

MeFeedia also says automated posting and tracking tools such as TubeMogul and Hey!Spread have gained popularity as they provide content creators a “produce once, post everywhere” model that saves them time.

Video consumption

According to MeFeedia, 1024×768 is most popular screen resolution (40%), followed by 1280×800 (20%), 1280×1024 (10%). The most popular for TV viewing is the Playstation 3, followed by the Nintendo Wii.

The report also states the watch time for short-form videos is 1:15 minutes and 8:50 minutes for long-form content, on average. Unsurprisingly, people are watching more short-form than long-form video content.

The growth in video consumption on mobile platforms was one of the fastest, particularly on iPhone, Android and BlackBerry devices (in that order). The iPhone was the fastest growing mobile device for video consumption (by 6x), which MeFeedia correctly deems largely fueled by the built-in YouTube support of the Apple phone.

(Image credit: Flickr / Clintus McGintus)

Every minute, approximately 20 hours of video gets uploaded to YouTube, so it won’t surprise you if I say that it’s impossible for any human being to watch everything on there in the span of one lifetime – provided anyone would even want to.

The standard of quality of videos that are uploaded to YouTube or other video sharing platforms like Vimeo or Blip.tv is subject to debate, as is the ability for the operators of the websites to put in such good filters that the best videos across a variety of categories get featured rather than the most popular (most viewed) only.

VidQue, for one, aims to build a better mousetrap by applying what you could refer to as a social filter to videos shared online.

VidQue functions in large part as a video bookmarking and distribution app, enabling users to save videos to their custom pages with a single click, and easily share them with their friends on Twitter or Facebook. At the same time, VidQue puts a lot of focus on video discovery, allowing users to watch videos based on their personal “Video Feed”, which is a listing of the latest videos saved by their peers or basically anyone they decide to follow.

The essence of the service is based on the premise that popularity rarely equals quality, and VidQue instead algorithmically analyzes trends and peer reviews in order to showcase the best videos on its main category listings (e.g. Technology). Thus, the startup claims, each user gets treated as a unique individual which in turns makes for a more “successful and rewarding video discovery experience” over time.

VidQue is entirely bootstrapped, but CEO Lukas Dryja informs me that the fledgling company will now start looking for external funding to be able to grow.

The lack of Flash support on the iThings (i.e. phone, touch) and all but one Android device has made it rather difficult for Flash-based video sites to penetrate the ever-expanding smartphone video-consuming market. While YouTube has implemented a workaround for this problem (by encoding each uploaded video in both Flash AND as .mp4 files), other sites (arguably with less resources) have been much slower to rollout a fix while waiting for Adobe and Co. to get this mess straightened out.

That was, until today. Blake Whitman, Vimeo’s director of community, told CNET News earlier today that the popular video sharing site is rolling out support for both iDevices and Android, albeit on a limited basis. More specifically, Vimeo has re-encoded all of its staff picks and HD video showcase for playback on your iPhone/iPod touch/Android handset.

According to Whitman, “[Vimeo has] been working on it for the last few weeks. This is sort of the prelude of offering Plus members iPhone support; and in the future, an app.” At the moment, Vimeo’s editors handpick which members’ videos will get the mobile “treatment,” but over time the site will slowly allow its Plus users the option to transcode their videos to an iPhone/Android version.

Clearly, this is not an end all, be all solution, but it is nice to see (and probably a must for the site’s future viability) Vimeo make an effort to accommodate the surging iDevice/Android community. Although I was unable to see it, the mobile-friendly site should be ready to rock (er, become available) for iPhone/Android users today. Oh, and one last caveat – some videos that work on iThings may not work on Android at the moment.

[via CNET]

http://slidesix.com/viewer/SlideSixViewer.swf?alias=Introducing-External-Media

We met Todd late last year, and were impressed with the quality of his work. He’s essentially a one-man shop kicking ass on his product. Todd’s Twitter stream is full of his passion as he shares his successes and frustrations. Good on yer, Todd!

It is early days for HD video on the Web, but already we are starting to see jostling for position in this nascent part of the Web video market. Less than two months after YouTube started streaming high-definition videos in a major way, CEO Chad Hurley is now claiming bragging rights as the biggest HD video site on the Web. At a panel today at Davos, he said:

We feel we have the largest library of HD video on the Internet.

If you look at YouTube’s HD category, five pages with about 100 HD videos come up. Hulu’s HD gallery, in contrast, only has six videos. Vimeo’s HD gallery has 178 712 videos. But CBS has at least 1,000 (and it is not clear how many of those are on YouTube in HD quality).

But those are just the featured videos. Search on YouTube for “HD” and then select only results in HD quality, and you get 150,000 results. That doesn’t necessarily mean there are 150,000 different HD videos on YouTube. But search on Hulu for “HD” and you get, once again, six results. CBS and other sites, obviously have more. But it seems likely that YouTube has the most.

Hurley also updated some other stats about YouTube. The site is now ingesting 15 hours of video content every minute, up from 13 hours every minute last September. And he gives some sense for what percentage of YouTube users actively upload videos as opposed to passively consuming them:

Even on Youtube, you have a small percentage of the community uploading videos, and the majority consumes. It is in the range of 2 to 3 percent. But the audience is so large even that is a big number.

That percentage is in line with participation rates for other social media. It is only the very top of the pyramid that actually creates and contributes content to any user-generated site. But is it the most talented 2 to 3 percent?

YouTube has been criticized in the past for not offering the experience already being offered on services like Viddler or Vimeo where users can upload large file sizes and input video information while it’s being uploaded. But in an announcement that should make its users happy, YouTube has finally seen the light and has started offering a new Upload process redesign that will more effectively compete with other services in the space.

According to the company, the new video uploader, which has been in private beta for some time, is now available to any users who wish to opt-in. Once users opt-in to the new uploader, they will quickly find that they can input metadata like the clip’s name, description, and tags while it’s uploading, as well as upload multiple videos at once to streamline the uploading process. More importantly, the new YouTube uploader will allow users to upload files up to 1GB in size, instead of its previous 100MB limit.

Much of these features were already available from other services, but it indicates that YouTube really does have a view of what’s going on in the market and wants to stay competitive in that space even though it’s still the de facto leader.

If you want to sign up for the new uploader, click here.

The Chronicle Project over on Vimeo took Nikon’s latest DSLR, the D90, and pitted its HD video capability against a true, $5200 high-def camcorder, the Panasonic HVX200. It’s a tad surprising that while the HVX does beat out the D90 in resolution and clarity, the D90 has better color depth and an overall fine picture. Camera geeks will point out that both pictures could be better with proper white balancing, a lens hoods, and a VR lens on the D90, but you really should check out the video ’cause it does a great job illustrating the point of these new DSLR’s can record great HD. Jump over to Vimeo to see the HD version - after all, the video is comparing HD cameras.

Pandora.TV launched in 2004 and has grown to become the “YouTube of Korea,” ranking as the countries 24th most popular site according to Alexa (comScore data is not available) with 20 million monthly unique visitors, 2.5 billion monthly page views with 2.5 million hosted videos. Notably the company has taken $16 million over two rounds from Altos Ventures and DCM, said to be the largest foreign investment made in a Korean internet startup.

Pandora.TV offers a mix of YouTube style videos and Live streaming. Like YouTube, videos can be embedded, voted upon and comments left on each page. A key selling point is unlimited video storage.

As of today Pandora.TV is now available in English, Chinese, Japanese as well as its native Korean. New features rolled out with the international expansion include HD quality video playback (H.264 codec support), multiple video upload (up to 5 files simultaneously), unlimited category creation and site widgets. Pandora.TV has also claimed cross-browser support as a new feature, however the Live Streaming service requires a download to view and stream that is only available to Windows users.

That’s not surprising, given the picture Lodwick chose to include with his goodbye post. A source close to Lodwick says “he was let go.”

Lodwick’s girlfriend, Julia Allison (who made a scandal at our August Capital party last summer – see video here), wrote a blog post saying “Dear Jakob, I wish I hadn’t found out you left the company you’ve been with for the last seven years from your blog. Love, Julia.”

Lots of drama out in NYC this evening.

Based on videos viewed, Google owned sites (YouTube + Google Video, but mostly YouTube) commanded a 28.3% market share in the United States in September with Fox Interactive Media (FIM) sites (MySpace and others) on 4.2%. The figures (see chart) demonstrate that YouTube doesn’t dominate video viewing as much as would be expected, suggesting that the long tail is alive and well in the sector given the top ten video sites only hold 45.2% of all videos viewed online.

The unique viewer numbers for video destinations also show Google leading, but by a smaller margin of 39.4% vs 22.6% for FIM sites. These figures are for people visiting the actual video sites themselves suggesting that much of YouTube’s dominance comes not from YouTube.com itself, but from people embedding YouTube videos (28.3% of all videos viewed vs 4.2% for FIM).

Notable in its absence from both top ten charts is the IAC owned Vimeo, who according to this post fired founder Jakob Lodwick today. Clearly Vimeo isn’t performing although it has positioned itself well with support for HD video. IAC usually takes long term positions in companies it owns (Ask.com for example) so it’s not on Deadpool watch yet but you’d expect IAC will be looking at ways of improving its performance going forward.

The San Francisco based company has had a meteoric rise since launching in January 2006, although Comscore suggests growth has stagnated over the last few months – worldwide unique visitors went from just over 12 million in May 2007 to just 8.4 million in September, a drop of about 30%. Compete and Alexa show a similar decline beginning in May, but with a subsequent full recovery and then some.

IAC’s offer, we’ve heard, may value the company at $150 million. However, IAC has a tendency to do complicated investment deals where they get a minority or majority stake in the business v. an outright acquisition. They own a majority stake College Humor/Vimeo (same parent company) and GarageGames, and a minority stake (rumored at 25%) in iLike through an investment by subsidiary Ticketmaster.

Flixster may not be very interested in a partial buyout, but interest from IAC could lead others to enter a bid, too. More on this as it develops.

Time for another roundup, and this one coincides with a notable first-year anniversary: that of Google’s $1.65 billion acquisition of YouTube, confirmed on October 9th, 2006.

Since then, the name “YouTube” has become virtually synonymous with “online video sharing”. According to Comscore, the website maintains a sizable lead over competitors with 205,593,000 unique visitors per month. Second-place Yahoo Video trails with 48,026,000 visitors. But must YouTube remain the clear winner in the online video space? While they have certainly captured the largest audience – which may in the end be all they had needed to do to secure their position – we shouldn’t underestimate the many other companies vying for mindshare.

Even if YouTube remains the destination of choice for the vast majority of consumers, producers ought to take a serious look at the alternative services. They often support more file types, bigger uploads, and higher resolutions. They also place fewer restrictions and provide an array of features simply overlooked by YouTube. That said, a few of these services are mere YouTube clones and hope to follow in YouTube’s footsteps by providing very basic features.

These are the services we looked at: blip.tv, Brightcove.tv, ClipShack, Crackle, DailyMotion, Sony eyeVio, Google Video, Megavideo, Metacafe, Motionbox, Revver, Spike (ifilm), Stage6, Veoh, Viddler, Vimeo, Yahoo Video, and YouTube.

Since they are all about 80% the same, I’m not going to go through each of them one-by-one at length. However, there are some overall trends that ought to be pointed out, as well as some key differentiators. To get into the details as to how all of these websites differ, check out the comparison chart we’ve provided above. You’ll notice that there are some gaps, so please email me if you can help us fill in the holes.

First of all, only YouTube, DailyMotion, and Metacafe appear to place any hard restrictions on video length. With the rest, video lengths are determined indirectly by file size restrictions. While YouTube and several of these sites place the file size cap at 100mb per upload, others place it higher at 250mb, 500mb, or 2000mb. Veoh places no limitations on file size, but they recommend you use their desktop player for files over 100mb. If you’re willing to fork over some cash for a premium membership, Brightcove.tv and Motionbox will also let you upload files of any size.

While YouTube allows users to upload files only formatted as .WMV, .AVI, .MOV, or .MPG, other services accept a much greater range of file types. If you want to make your life easier, however, get into the habit of encoding in .MOV (Quicktime) and you’ll be welcome at almost all of these sites.

When it comes to video quality/resolution, it’s not perfectly clear how these services compare, because most of them don’t state their video bit rates or explain their transcoding processes. However, several of them clearly blow YouTube out of the water. Stage6, a DivX-based service, and Sony’s eyeVio, a Japanese-only service, support the most stunning video quality. Videos hosted by Veoh and Crackle also look very sharp.

Out of all these alternative services, blip.tv stands out as the most professional video sharing solution. The website and player are cleanly designed, they accept perhaps the widest range of file formats, they will automatically syndicate your videos to many other websites, and you can choose to place midroll, postroll, adjacent, and overlay advertisements in your uploads. Additionally, you can track your shows’ statistics quite closely and allow users to download your videos. I could go on and on about blip.tv’s useful features. The only major bummer with blip.tv is that you can’t seek ahead to points in a video using their Flash player.

It’s no surprise that shows like Rocketboom have decided to migrate over to blip.tv. We even decided to use them for our TechCrunch40 conference. And PC World agrees with us that blip.tv tops them all.

While we have a strong preference for blip.tv, the others have their own peculiarities that may make them more attractive to you. ClipShack, while mostly a YouTube clone, has an area where you can use a webcam to add movie, book, video game, and TV show reviews directly to the site. Crackle serves as a talent discovery system through which amateur producers can win a chance to pitch ideas to Sony and other media executives.

Dailymotion, Metacafe, and Megavideo support a wide range of languages. Sony eyeVio, which unfortunately doesn’t plan to roll out an English version, enables users to download videos straight to their PSPs, Walkmans, iPods, and mobile phones. Metacafe and Megavideo both have programs with which they pay content creators according to how many people view their videos. Motionbox, the most private of the services, has a video player with a unique filmstrip that can be used to visually locate segments in a video (they also provide a simple online video editor).

Revver provides a WordPress plugin so that video bloggers can upload and manage their content more efficiently. Veoh lets you both upload videos to other sharing sites and watch videos from all over the Web in its download client. Vimeo sports the best-designed website and a strong community feel. And Viddler’s player packs in a bunch of features, including the ability to leave comments in videos at particular points.

Since embeddable video players are the faces of these services, we have placed screenshots of them below (click to enlarge). We are also in the process of uploading a sample video to each of these websites so you can compare their video qualities. Links to these videos can be found in the comparison chart.

I’ve taken a look at as many of these services that I could find. The most well known is YouTube, which we profiled in August and which recently raised venture money from Sequoia.

But there are at least eight others worth looking at as well. In addition to YouTube, these are CastPost, ClipShack, DailyMotion, Grouper, OurMedia, Revver, Vimeo and vSocial.

Instead of writing individual profiles on each of these, I’ve created a quick chart that give a basic overview of the features. I’ve included only those companies that provide a web-based (v. client) service that hosts the videos on your behalf. Because of these requirements, great services like VideoEgg (profile) are not included.

Here’s the chart. I’ll update it as needed.

Most of these companies convert video to Flash. This reduces file size significantly and also allows most platforms and browsers to easily view the content. Two, Vimeo and DailyMotion, convert files to quicktime instead. A couple do not convert the files at all. One benefit of those services which do not convert is that the files can be downloaded by others, emailed, etc. QuickTime format can also be downloaded.

One service that has a unique feature is Revver. Much like FruitCast for podcasts, Revver will auto-insert advertisements directly into your videos and share revenue with you.

A couple of additional notes. Grouper has not launched their video publishing product yet. When it does launch there is a good chance it will involve a client download which would remove them from this list. Also, while I’ve noted which services allow tagging of videos, there are a wide variety of tagging options within these services, and many of them also provide comments, rankings, etc. and which are not noted in the chart. Finally, the tools to allow blogging, friends lists and other sharing are varied and more useful in some products than others. Which product is best for you depends on what types of features are most important to you.

UPDATE: I’ve updated the chart above with more information. People have left great comments and have included new companies I’ve missed. If you are associated with those companies, please email me relevant information and I’ll include it in the chart. The most interesting comment is from Vinu, who tells us that he heard a rumor that Flickr will be adding video support soon. That would have a significant impact on this market, of course.