Youth content creators have been under-researched on video platforms such as Snapchat, YouTube, Instagram, etc. In order to better understand the ways that technology could support youth as content creators we conducted a 30-week series of workshops with an intergenerational design team including pre-teen youth and undergraduate designers-in-training. Qualitative analysis of workshop videos and notes revealed underlying challenges in video creation related to the social dynamics of creating videos in groups. In line with previous work, we note that a primary motivation for using social media is to spend time with friends. We found that existing video technology reveals opportunities and challenges to support the collaboration and interaction that motivates youth creators. We offer illustrative designs of potential collaborations in video sharing technology and propose that some of the concerns of youth social media use could be addressed by incorporating more opportunities for social creation.

In addition to encyclopedia articles and software, peer production communities produce structured data, e.g., Wikidata and OpenStreetMap's metadata. Structured data from peer production communities has become increasingly important due to its use by computational applications, such as CartoCSS, MapBox, and Wikipedia infoboxes. However, this structured data is usable by applications only if it follows standards. We did an interview study focused on OpenStreetMap's knowledge production processes to investigate how -- and how successfully -- this community creates and applies its data standards. Our study revealed a fundamental tension between the need to produce structured data in a standardized way and OpenStreetMap's tradition of contributor freedom. We extracted six themes that manifested this tension and three overarching concepts, correctness, community, and code, which help make sense of and synthesize the themes. We also offered suggestions for improving OpenStreetMap's knowledge production processes, including new data models, sociotechnical tools, and community practices (e.g. stronger leadership).

As the third most popular social network among millennials, Snapchat is well known for its picture and video messaging system that deletes content after it is viewed. However, the Stories feature of Snapchat offers a different perspective of ephemeral content sharing, with pictures and videos that are available for friends to watch an unlimited number of times for 24 hours. We conduct-ed an in-depth qualitative investigation by interviewing 18 participants and reviewing 14 days of their Stories posts. We identify five themes focused on how participants perceive and use the Stories feature, and apply a Goffmanesque metaphor to our analysis. We relate the Stories medium to other research on self-presentation and identity curation in social media.

Online user-generated video sharing communities, such as YouTube, are becoming more popular than conventional studio-produced content. These communities provide every user with the opportunity to create and promote their own video content---a compelling venue for children and teenagers to share their stories and voices. In this study, we investigate the practices of youth video creators on YouTube. To do so, we conducted a content analysis of the audience engagement practices of 100 youth author channels, comparing them to adult and professional YouTubers when appropriate. We found that most youth authors are aware of and actively engage with their imaginary or real audiences on YouTube. They emulate the conversational and audience engagement practices seen in professional quality YouTube channels, but may not have the video editing or other meta-content skills or experience to do so. Based on our findings, we point to a number of implications for future research and design in this space.

What kinds of content do children and teenagers author and share on public video platforms? We approached this question through a qualitative directed content analysis of over 250 youth-authored videos filtered by crowdworkers from public videos on YouTube and Vine. We found differences between YouTube and Vine platforms in terms of the age of the youth authors, the type of collaborations witnessed in the videos, and the significantly greater amount of violent, sexual, and obscene content on Vine. We also highlight possible differences in how adults and youths approach online video sharing. Specifically, we consider that adults may view online video as an archive to keep precious memories of everyday life with their family, friends, and pets, humorous moments, and special events, while children and teenagers treat online video as a stage to perform, tell stories, and express their opinions and identities in a performative way.