From BTIG:
* three-quarters of Netflix streaming is driven by the recommendation engine, as opposed to search and new release pages.
Rather than watch what is “programmed” for the masses on traditional television, consumers are able to find (via search, discovery, and recommendation) video content that interests them regardless of how mainstream or niche the content.
Is Netflix a proxy for future market?
Tuesday, January 3, 2012
Monday, November 21, 2011
Fun stats about what's on TV online
From Mediapost:
Right now, more than 100,000 individual TV episodes and movie titles are available online. There are 19,000 movie titles and 82,000 TV episodes available digitally, according to Tribune Media Services/
Tribune says 15.5% of those 100,000 titles are drama-related TV or films; 11.3% are childrens' content; 11.2% are TV sitcoms; 11.0% are reality shows; 7.3% is comedy; 7.1% are crime drama; 4.9% are documentary; and 3.5% are science fiction.
Now, some 50 million TV homes have VOD access, rising to 70.3 million homes in 2016. Those VOD TV homes can access 315 individual titles at any given time.
Now there are 72.2 million U.S. TV viewers who watch a full-length TV episode online once a week, according to eMarketer. Nielsen says this number is somewhat lower: 50 million.
Monday, October 24, 2011
60% of netflix streams are TV
Netflix Sarandos revealed that up to 60% of the filmed content viewed on his site is television programming and that shows such as Mad Men are top of the popularity poll. As a result, his company has started to buy series directly from the producers and distributors who financed them: cutting out the TV networks and cable channels. It now plans to make these shows available as early as possible, during what is known as "the first-run window".
But networks commission these projects; without that, would they ever get made in the first place?
But networks commission these projects; without that, would they ever get made in the first place?
Wednesday, October 19, 2011
don't have an ad strategy; have a content strategy
http://www.zimgossip.com/?p=862
brands with content strategy, good youtube examples
every video a conversation
every video interactive
you tube's andy Stack says, no. People are watching more TV. They are just watching cable. If you stack networks by percentage reach, you’ll see that 50% of viewership is on networks with a rating less than 1.0 (1% of households). And at 0.5% share (the point at which Nielsen stops measuring), you’ll find 30% of viewership. It’s a good time to be a content creator. Our system allows you to unlock the untapped value of networks you may not have previously considered. For example one brand seeking to target young adults found that Fuse network delivered a much more efficient cost per order than the networks they were traditionally targeting, now Fuse is a permanent part of the line up. This also means that the established media companies don’t have the high upfront cost strangle hold on access anymore.
f you’re a marketer, then you’ll probably recognize some of the following videos. Which of these were made by users? By marketers? Who started the conversation?
Tiger Woods 09: http://www.youtube.com/watch?v=FZ1st1Vw2kY
Numa Numa Gecko: http://www.youtube.com/watch?v=HItwu7PNdNo
E-Trade Trading Baby: http://www.youtube.com/watch?v=6vW9gUmooFg
Cadbury Eyebrows: http://www.youtube.com/watch?v=TVblWq3tDwY
She launched exclusive video premiers on Vevo, starred in a Google Chrome Ad that went viral, staged a live feed from Best Buy on launch date as fans poured in to buy her album and live interviews allowed her to take questions from fans.
ne of the important aspects of social is sharing, and 30% of people share videos they like, over 400 videos are shared on Twitter every minute, and the amount of YouTube videos watched on Facebook is equal to 150 years. As the world’s largest focus group
brands with content strategy, good youtube examples
every video a conversation
every video interactive
you tube's andy Stack says, no. People are watching more TV. They are just watching cable. If you stack networks by percentage reach, you’ll see that 50% of viewership is on networks with a rating less than 1.0 (1% of households). And at 0.5% share (the point at which Nielsen stops measuring), you’ll find 30% of viewership. It’s a good time to be a content creator. Our system allows you to unlock the untapped value of networks you may not have previously considered. For example one brand seeking to target young adults found that Fuse network delivered a much more efficient cost per order than the networks they were traditionally targeting, now Fuse is a permanent part of the line up. This also means that the established media companies don’t have the high upfront cost strangle hold on access anymore.
f you’re a marketer, then you’ll probably recognize some of the following videos. Which of these were made by users? By marketers? Who started the conversation?
Tiger Woods 09: http://www.youtube.com/watch?v=FZ1st1Vw2kY
Numa Numa Gecko: http://www.youtube.com/watch?v=HItwu7PNdNo
E-Trade Trading Baby: http://www.youtube.com/watch?v=6vW9gUmooFg
Cadbury Eyebrows: http://www.youtube.com/watch?v=TVblWq3tDwY
She launched exclusive video premiers on Vevo, starred in a Google Chrome Ad that went viral, staged a live feed from Best Buy on launch date as fans poured in to buy her album and live interviews allowed her to take questions from fans.
ne of the important aspects of social is sharing, and 30% of people share videos they like, over 400 videos are shared on Twitter every minute, and the amount of YouTube videos watched on Facebook is equal to 150 years. As the world’s largest focus group
Tuesday, October 18, 2011
Social deserves its own programming
“Social deserves its own programming,” McCormack said. “This is a new programming platform. It’s not just about ‘Watch Jersey Shore at 10 o’clock.’ It’s about how do we generate content and stories to engage people on these platforms.”
And so MTV has been creating about 200 to 300 pieces of new content a day that lives on various websites and social platforms — on top of the programming that airs on its TV networks. Not only do those pieces of content have to be relevant to its shows and its brand, but they also have to be tailored to the platform that they appear on.
And so MTV has been creating about 200 to 300 pieces of new content a day that lives on various websites and social platforms — on top of the programming that airs on its TV networks. Not only do those pieces of content have to be relevant to its shows and its brand, but they also have to be tailored to the platform that they appear on.
Wednesday, October 12, 2011
articles to save
http://gigaom.com/video/buckle-up-traditional-tv-is-in-for-a-heck-of-a-ride/?utm_source=feedburner&utm_medium=email&utm_campaign=Feed%3A+OmMalik+%28GigaOM%3A+Tech%29
read this piece and comments
best web shows
techcrunch
ex machina games
forbes piece
adweek piece
he ever-mounting disarray at Yahoo, along with the not-so-far-behind-it disarray at AOL, is just another part of the long-in-coming conclusion that content doesn’t work as a business online.
“Content doesn’t work” means, in this context, that other businesses work better. It means you’re a goddamn palooka if you’re actually paying to create content when advertisers are just as happy with businesses fueled by cost-free user interactions. And yet, ultimately, everybody does embrace content.
Or, that is, mature technology businesses (Yahoo, AOL, Microsoft, and now Google) almost invariably come to content.
Put another way, what still works, what advertisers and audiences still seek, is superexpensive content.
And there is a model in which mature non-content-producing businesses help themselves by becoming sophisticated content producers: the premium channel business, the HBO model. HBO was not a content creator; it was effectively just an aggregator and a redistributor. But faced with higher licensing fees and lower margins, and looking to solidify its own brand, it started to produce its own content.
but price of content is scary
The 22-minute format with 8 minutes of 30-second commercials was designed for linear programming. Why is the number 22 magic? In a non-linear world do we need a standard length?
The world is filled with amazing writers, directors, actors and producers. Many of them don’t have the money or access to be in Hollywood or the ones that are here lack the ability to reach an audience. Companies like Filmaka have been trying to solve this problem.
What happens when content production & distribution is easy to professionally produce and distribute at mass low-cost scale? Will we still have predictable story lines? Or can we develop more fragmented content to meet the needs of fragmented audiences and interest groups?
What happens in a world where content producers have a direct relationship with the audience and can involve the audience directly in story creation? Or maybe even as wacky as involving the audience in the story itself?
But, since content producers and network people "grew up" in a world where success was about distribution not marketing yourself to the "end-user", they aren't natural marketers. That's why the gap between the perceived value of content airing in primetime slots and the other 21 hours of the day is exponential. No one has capitalized on the marketing opportunity to air quality "long tail" content in these time slots - even though VCRs and later DVRs made it possible to record and watch this content when convenient
ow gaming consoles like Kinect and Sony Move will accelerate (especially for Gen Y and Gen Z) the adoption of Natural User Interface tendencies through gestural controls. This will have quite a huge impact for technology like Augmented Reality and how it can be utilized in the Digital Living Room.
read this piece and comments
best web shows
techcrunch
ex machina games
forbes piece
adweek piece
he ever-mounting disarray at Yahoo, along with the not-so-far-behind-it disarray at AOL, is just another part of the long-in-coming conclusion that content doesn’t work as a business online.
“Content doesn’t work” means, in this context, that other businesses work better. It means you’re a goddamn palooka if you’re actually paying to create content when advertisers are just as happy with businesses fueled by cost-free user interactions. And yet, ultimately, everybody does embrace content.
Or, that is, mature technology businesses (Yahoo, AOL, Microsoft, and now Google) almost invariably come to content.
Put another way, what still works, what advertisers and audiences still seek, is superexpensive content.
And there is a model in which mature non-content-producing businesses help themselves by becoming sophisticated content producers: the premium channel business, the HBO model. HBO was not a content creator; it was effectively just an aggregator and a redistributor. But faced with higher licensing fees and lower margins, and looking to solidify its own brand, it started to produce its own content.
but price of content is scary
The 22-minute format with 8 minutes of 30-second commercials was designed for linear programming. Why is the number 22 magic? In a non-linear world do we need a standard length?
The world is filled with amazing writers, directors, actors and producers. Many of them don’t have the money or access to be in Hollywood or the ones that are here lack the ability to reach an audience. Companies like Filmaka have been trying to solve this problem.
What happens when content production & distribution is easy to professionally produce and distribute at mass low-cost scale? Will we still have predictable story lines? Or can we develop more fragmented content to meet the needs of fragmented audiences and interest groups?
What happens in a world where content producers have a direct relationship with the audience and can involve the audience directly in story creation? Or maybe even as wacky as involving the audience in the story itself?
But, since content producers and network people "grew up" in a world where success was about distribution not marketing yourself to the "end-user", they aren't natural marketers. That's why the gap between the perceived value of content airing in primetime slots and the other 21 hours of the day is exponential. No one has capitalized on the marketing opportunity to air quality "long tail" content in these time slots - even though VCRs and later DVRs made it possible to record and watch this content when convenient
ow gaming consoles like Kinect and Sony Move will accelerate (especially for Gen Y and Gen Z) the adoption of Natural User Interface tendencies through gestural controls. This will have quite a huge impact for technology like Augmented Reality and how it can be utilized in the Digital Living Room.
new tools
http://www.poynter.org/how-tos/digital-strategies/142139/how-journalists-are-using-mobile-devices-to-enhance-their-reporting/?utm_source=feedburner&utm_medium=email&utm_campaign=Feed%3A+mediaredef+%28jason+hirschhorn%27s+Media+ReDEFined%29
tjahr said he noticed that standard TV cameras would attract raucous crowds that overshadowed the peaceful singing and quiet protests happening away from the cameras. The benefits of blending in were so great that he says he now prefers to leave his camera crew behind whenever possible. While reporting, Gutjahr uses apps like Ustream, Audioboo, Tweetdeck for iPhone, Camera+ and iMovie.
Reporter Neal Augenstein got attention earlier this year for being one of the first radio reporters to ditch his broadcast gear entirely for an iPhone and iPad. He said he can do his job as a reporter at Washington D.C.’s commercial all-news station, WTOP, just as well without it.
“After it’s gone through production [and] played on the air, my sense is it’s the same as audio recorded by anyone else,” Augenstein told me via Skype.
Augenstein uses his iPhone to record interviews using the built-in microphone. When he’s at a press conference, he uses his iPad to take notes with the phone at the podium. The devices, he said, have changed his entire workflow. He now begins a story with a tweet, takes photos and videos for the Web, and then files a radio report. Before Augenstein made the switch, he wasn’t even using social media. He uses a series of apps in his reporting, including 1st Video by Vericorder, Twitter, Ustream, Skype and Camera+.
Here's a crowd-sourced database (to which you can contribute) of apps recommended for journalists. You can filter for just Android apps. http://bit.ly/apps4journos Also, here's an Android-only list: http://bit.ly/androidappsforjo...
tjahr said he noticed that standard TV cameras would attract raucous crowds that overshadowed the peaceful singing and quiet protests happening away from the cameras. The benefits of blending in were so great that he says he now prefers to leave his camera crew behind whenever possible. While reporting, Gutjahr uses apps like Ustream, Audioboo, Tweetdeck for iPhone, Camera+ and iMovie.
Reporter Neal Augenstein got attention earlier this year for being one of the first radio reporters to ditch his broadcast gear entirely for an iPhone and iPad. He said he can do his job as a reporter at Washington D.C.’s commercial all-news station, WTOP, just as well without it.
“After it’s gone through production [and] played on the air, my sense is it’s the same as audio recorded by anyone else,” Augenstein told me via Skype.
Augenstein uses his iPhone to record interviews using the built-in microphone. When he’s at a press conference, he uses his iPad to take notes with the phone at the podium. The devices, he said, have changed his entire workflow. He now begins a story with a tweet, takes photos and videos for the Web, and then files a radio report. Before Augenstein made the switch, he wasn’t even using social media. He uses a series of apps in his reporting, including 1st Video by Vericorder, Twitter, Ustream, Skype and Camera+.
Here's a crowd-sourced database (to which you can contribute) of apps recommended for journalists. You can filter for just Android apps. http://bit.ly/apps4journos Also, here's an Android-only list: http://bit.ly/androidappsforjo...
cool Youtube things
http://theendoftelevision.com/post/4662243520/beyond-youtube-its-not-a-dynamic-database-its-a-digital
Quick Keys
Sharing videos with friends is one of the most popular uses for YouTube, but sometimes you want to share just the best part of a video. With two clicks, you can trim videos to begin exactly where you want and then share them. As a video is playing, right click at the point where you'd like your video clip to start and select "Copy video URL at current time" to get a URL for the trimmed video. When others open the link, it will start right at the spot in the video where you right-clicked. No longer will a video clip take too long to reach the best part, like waiting for a model to fall on the runway, and leave you hesitant to share it on Facebook or via emails with friends.
Real Deal Musicians
To find artists who do publish on YouTube, look at youtube.com/disco, where users can type in artist names to get a playlist of videos by that artist. In regular YouTube search results, the official stamp from YouTube (and wording) signals that an artist is verified—much like the blue checkmark beside popular Twitter users who are truly who they claim to be.
If you've ever recorded a video shot in portrait mode that you'd rather share in landscape or vice versa, the video can be switched to the correct viewing angle, saving viewers from tilting their heads to one side to watch. Do this with YouTube's editor in the cloud, youtube.com/editor. Here, people can edit (including rotate) existing videos or upload new videos. Content can be mixed in with other video clips from the Creative Commons site, soundtracks can be added by choosing from a selection of music, and text slides can be dragged in to display between video clips.
If you'd rather use a third-party company for editing, multiple options are listed at youtube.com/create. A company called Vlix recently announced its integration with the YouTube site, bringing its editing features from the Vlix iPhone app—like artsy designs and text slides—to the site.
Magisto automatically skims videos for the best footage and creates short clips with that content, and the Xtranormal Movie Maker lets people add text, such as a personal narration, to an animated video. (Never underestimate the entertainment value of hearing your words come out of an animated bear with a robotic voice.)
Personalized Viewing
If you're tired of hunting for videos to watch, take a look at clips that YouTube thinks you'll like. Once signed into your YouTube account, if you've used the site to watch at least one video in the past, the homepage will show Suggestions below your username based on that past watching history. These suggestions appear as small thumbnail images of each video and include the reasoning behind why a clip was suggested, like "because you watched Lady Gaga and Sting."
YouTube.com/leanback. This opens a page that's meant to be viewed far from your computer, complete with a black background and white text written in large font.
Sign In, Sign In Again
Recently, it became possible to log into YouTube using your Google account username and password (Google has owned YouTube since 2006). Using their Google account, users may browse YouTube, rent a movie and "like" a video. To upload their own videos, subscribe to a channel, make comments on and "favorite" videos and get recommendations from YouTube on content they may like, people must create a YouTube account and use that in addition to a Google account.
Testing, Testing
A site called TestTube, found at youtube.com/testtube, holds many in-the-works projects from YouTube engineers. Here, users can kick the tires of some features that aren't fully baked. One example is YouTube/slam, which pits one video against another and lets viewers vote on the best one.
Posting Video
It's important to know the sharing settings in YouTube. There are three: public (anyone can search for and view); unlisted (anyone with the link can view); and private (only people who you choose can view). Any video can always be taken down from the site by its original publisher.
Quick Keys
Sharing videos with friends is one of the most popular uses for YouTube, but sometimes you want to share just the best part of a video. With two clicks, you can trim videos to begin exactly where you want and then share them. As a video is playing, right click at the point where you'd like your video clip to start and select "Copy video URL at current time" to get a URL for the trimmed video. When others open the link, it will start right at the spot in the video where you right-clicked. No longer will a video clip take too long to reach the best part, like waiting for a model to fall on the runway, and leave you hesitant to share it on Facebook or via emails with friends.
Real Deal Musicians
To find artists who do publish on YouTube, look at youtube.com/disco, where users can type in artist names to get a playlist of videos by that artist. In regular YouTube search results, the official stamp from YouTube (and wording) signals that an artist is verified—much like the blue checkmark beside popular Twitter users who are truly who they claim to be.
If you've ever recorded a video shot in portrait mode that you'd rather share in landscape or vice versa, the video can be switched to the correct viewing angle, saving viewers from tilting their heads to one side to watch. Do this with YouTube's editor in the cloud, youtube.com/editor. Here, people can edit (including rotate) existing videos or upload new videos. Content can be mixed in with other video clips from the Creative Commons site, soundtracks can be added by choosing from a selection of music, and text slides can be dragged in to display between video clips.
If you'd rather use a third-party company for editing, multiple options are listed at youtube.com/create. A company called Vlix recently announced its integration with the YouTube site, bringing its editing features from the Vlix iPhone app—like artsy designs and text slides—to the site.
Magisto automatically skims videos for the best footage and creates short clips with that content, and the Xtranormal Movie Maker lets people add text, such as a personal narration, to an animated video. (Never underestimate the entertainment value of hearing your words come out of an animated bear with a robotic voice.)
Personalized Viewing
If you're tired of hunting for videos to watch, take a look at clips that YouTube thinks you'll like. Once signed into your YouTube account, if you've used the site to watch at least one video in the past, the homepage will show Suggestions below your username based on that past watching history. These suggestions appear as small thumbnail images of each video and include the reasoning behind why a clip was suggested, like "because you watched Lady Gaga and Sting."
YouTube.com/leanback. This opens a page that's meant to be viewed far from your computer, complete with a black background and white text written in large font.
Sign In, Sign In Again
Recently, it became possible to log into YouTube using your Google account username and password (Google has owned YouTube since 2006). Using their Google account, users may browse YouTube, rent a movie and "like" a video. To upload their own videos, subscribe to a channel, make comments on and "favorite" videos and get recommendations from YouTube on content they may like, people must create a YouTube account and use that in addition to a Google account.
Testing, Testing
A site called TestTube, found at youtube.com/testtube, holds many in-the-works projects from YouTube engineers. Here, users can kick the tires of some features that aren't fully baked. One example is YouTube/slam, which pits one video against another and lets viewers vote on the best one.
Posting Video
It's important to know the sharing settings in YouTube. There are three: public (anyone can search for and view); unlisted (anyone with the link can view); and private (only people who you choose can view). Any video can always be taken down from the site by its original publisher.
Friday, October 7, 2011
power of tv today
http://www.deadline.com/2011/10/mipcom-disney-abc-tv-boss-anne-sweeney-says-television-will-get-even-more-personal/
Digital technology didn’t “disrupt” our business – it transformed it.
Digital didn’t weaken the power of television – it unleashed it.
This year, people around the world will watch 140 billion more hours of television than they did last year – for a total of 4.5 trillion viewing hours.
year alone, 52% of social network users in EMEA and Asia Pacific say they’ve watched a video that was shared by a friend, while 68% of the people on social networks in Latin America did the same.
They’re also sharing via Twitter – and the percentage of Twitter users increased by triple digits last year in every region in the world.
Our global audience will grow by 40 million by the end of this year, to 3.7 billion people – or roughly half of the world’s current population.
According to a recent study by Deloitte, TV shows are the most common conversation topics around the world – and the subject of more than a billion tweets this year alone. No wonder the study concludes that “In today’s world, TV is the medium around which all others revolve.”
Digital technology didn’t “disrupt” our business – it transformed it.
Digital didn’t weaken the power of television – it unleashed it.
This year, people around the world will watch 140 billion more hours of television than they did last year – for a total of 4.5 trillion viewing hours.
year alone, 52% of social network users in EMEA and Asia Pacific say they’ve watched a video that was shared by a friend, while 68% of the people on social networks in Latin America did the same.
They’re also sharing via Twitter – and the percentage of Twitter users increased by triple digits last year in every region in the world.
Our global audience will grow by 40 million by the end of this year, to 3.7 billion people – or roughly half of the world’s current population.
According to a recent study by Deloitte, TV shows are the most common conversation topics around the world – and the subject of more than a billion tweets this year alone. No wonder the study concludes that “In today’s world, TV is the medium around which all others revolve.”
social media relating to tv usage
Viewers are looking for more meaningful interaction with the shows they watch.
Stars/celebrities are taking an active role in social media.
Content producers are trying to engage viewers in new ways
Among people aged 18-34, the most active social networkers, social media buzz is most closely aligned with TV ratings for the premiere of a show. A few weeks prior to a show’s premiere, a nine percent increase in buzz volume correlates to a one percent increase in ratings among this group. As the middle of the season approaches and then the finale, the correlation is slightly weaker, but still significant, with a 14 percent increase in buzz corresponding to a one percent increase in ratings.
At the genre level, 18-34 year-old females showed significant buzz-to-ratings relationships for reality programs (competition and non-competition), comedies and dramas, while men of the same age saw strong correlations for competition realities and dramas.
http://summify.com/story/To4NifXQRG-GAUJI/blog.nielsen.com/nielsenwire/online_mobile/the-relationship-between-social-media-buzz-and-tv-ratings/
The recent MTV Video Music Awards garnered the highest ratings in the show’s history. It also set a new high water mark for concurrent tweeting: VMA-related tweets came in at 8,868 per second while the program aired. Although it’s tempting to draw a line between the awards show’s high ratings and the audience’s enthusiastic social engagement, there is no real way to determine if ratings drove the Twitter bus, Twitter drove ratings or the two were in separate busses that happened to be on the same road at the same time.
right now more of a value add: “Advertisers want to come along because we’re packaging the cross platform experience.”
bravo thinks it helps first time ratings: he said that engaging users with second screen experiences increases viewership during a program’s first airing. Rather than recording programming and watching it later, viewers watch programs during the premier broadcast in order to participate in the ongoing second-screen conversation. “People want to meet in real time and talk about it as it is happening.”
According to Hsia, Bravo’s social experiments drove 10 percent ratings growth.
ight not be a single metric, comparable to a Nielsen rating, on which networks and brands can rely.
“You can’t forget the interactive element,” she said. “There may not be a simple apples to apples way to measure the impact of social media on ratings.”
http://www.digiday.com/stories/can-social-tv-drive-ratings-points/
hink about how you’ll measure the growth of the online community as well as show viewership. Look at quantitative metrics such as followers or retweets, but also observe more qualitative engagement like conversation sentiment. You may also be looking at other factors such as an increase in traffic to online or offline retail outlets for ancillary products such as merchandise or DVDs.
Do you have access to talent? Will that talent engage viewers as themselves or as their characters? What online owned media channels can you leverage? Does the show already have a Twitter account? Finally, archival footage, brand partners and physical venues can also become weapons in your intermedia arsenal.
Uncovered in all that data is a “statistically significant relationship” between online buzz and television ratings. When TV viewers, particularly those under 35 years, buzz online – tweeting, friending, liking, sharing, etc. - about TV shows the ratings go up, slightly. A 9% increase in online buzz about a program’s premiere yields a 1% ratings increase. As a program’s run progresses to finale more buzz (14%) is necessary to pump up that 1% in ratings.
Stars/celebrities are taking an active role in social media.
Content producers are trying to engage viewers in new ways
Among people aged 18-34, the most active social networkers, social media buzz is most closely aligned with TV ratings for the premiere of a show. A few weeks prior to a show’s premiere, a nine percent increase in buzz volume correlates to a one percent increase in ratings among this group. As the middle of the season approaches and then the finale, the correlation is slightly weaker, but still significant, with a 14 percent increase in buzz corresponding to a one percent increase in ratings.
At the genre level, 18-34 year-old females showed significant buzz-to-ratings relationships for reality programs (competition and non-competition), comedies and dramas, while men of the same age saw strong correlations for competition realities and dramas.
http://summify.com/story/To4NifXQRG-GAUJI/blog.nielsen.com/nielsenwire/online_mobile/the-relationship-between-social-media-buzz-and-tv-ratings/
The recent MTV Video Music Awards garnered the highest ratings in the show’s history. It also set a new high water mark for concurrent tweeting: VMA-related tweets came in at 8,868 per second while the program aired. Although it’s tempting to draw a line between the awards show’s high ratings and the audience’s enthusiastic social engagement, there is no real way to determine if ratings drove the Twitter bus, Twitter drove ratings or the two were in separate busses that happened to be on the same road at the same time.
right now more of a value add: “Advertisers want to come along because we’re packaging the cross platform experience.”
bravo thinks it helps first time ratings: he said that engaging users with second screen experiences increases viewership during a program’s first airing. Rather than recording programming and watching it later, viewers watch programs during the premier broadcast in order to participate in the ongoing second-screen conversation. “People want to meet in real time and talk about it as it is happening.”
According to Hsia, Bravo’s social experiments drove 10 percent ratings growth.
ight not be a single metric, comparable to a Nielsen rating, on which networks and brands can rely.
“You can’t forget the interactive element,” she said. “There may not be a simple apples to apples way to measure the impact of social media on ratings.”
http://www.digiday.com/stories/can-social-tv-drive-ratings-points/
hink about how you’ll measure the growth of the online community as well as show viewership. Look at quantitative metrics such as followers or retweets, but also observe more qualitative engagement like conversation sentiment. You may also be looking at other factors such as an increase in traffic to online or offline retail outlets for ancillary products such as merchandise or DVDs.
Do you have access to talent? Will that talent engage viewers as themselves or as their characters? What online owned media channels can you leverage? Does the show already have a Twitter account? Finally, archival footage, brand partners and physical venues can also become weapons in your intermedia arsenal.
Uncovered in all that data is a “statistically significant relationship” between online buzz and television ratings. When TV viewers, particularly those under 35 years, buzz online – tweeting, friending, liking, sharing, etc. - about TV shows the ratings go up, slightly. A 9% increase in online buzz about a program’s premiere yields a 1% ratings increase. As a program’s run progresses to finale more buzz (14%) is necessary to pump up that 1% in ratings.
Beginning of the end of cable company proprietary set-top boxes.
http://www.mediapost.com/publications/?fa=Articles.showArticle&art_aid=160095
Yesterday, Microsoft announced that its Xbox 360 would now carry free and subscription services in most major markets around the globe. now carry channels like ESPN, HBO, Bravo, Syfy, BBC and services like Comcast Xfinity, Verizon FIOS and TT&T and previously Web-based content like Google's YouTube.
ed their streaming services. Am I being a bit extreme? I don't think so, and here are my reasons why:
Connected Xboxes today are already used for TV viewing on average of one hour per day. That dwarfs the average Americans Web video viewing by by a factor of 10. More great content on that platform will only drive that number, and ratio, higher.
significant that several of the largest multichannel video distributors have signed up on the Xbox deal. I'm sure many of them would like to be out of the consumer hardware business. Just wait until we see large volumes of smart, connected TVs. They will become like Xbox too.
Could herald a la carte channel purchasing. With ESPN and HBO doing deals here, how long can it be before other, must-have networks, offer their channels on a stand-alone basis - AMC and "Mad Men," anyone?
ransforming television into an IP-based “app” increases the need for a fatter (higher ARPU) broadband pipe, playing into cable’s competitive advantage (the focus of the aforementioned 6/3 blog), significantly reduces capital expenditures and at the same time dramatically improves the user interface/navigation of an MVPD’s programming
inging TV Everywhere to the television is significant, as most consumers continue to want to watch the overwhelming majority of their daily video content on the largest screen - the TV. This is something Netflix’s Reed Hastings has made clear numerous times, based on the behavior of those streaming Netflix (most Netflix watch instantly viewing occurs on the TV).
e wonder how long before an MVPD tries to distribute multichannel video outside the infrastructure they own/control - using the broadband pipes of others (requires consent of programmers and franchising authorities we presume, but technically feasible when you think about what Verizon and Microsoft are enabling).
Read more: http://www.btigresearch.com/2011/10/05/verizon-takes-the-lead-in-going-box-less-cable-industry-needs-to-embrace-their-dumb-pipe-future-far-faster/?utm_source=twitterfeed&utm_medium=twitter#ixzz1a88T3BYG
Yesterday, Microsoft announced that its Xbox 360 would now carry free and subscription services in most major markets around the globe. now carry channels like ESPN, HBO, Bravo, Syfy, BBC and services like Comcast Xfinity, Verizon FIOS and TT&T and previously Web-based content like Google's YouTube.
ed their streaming services. Am I being a bit extreme? I don't think so, and here are my reasons why:
Connected Xboxes today are already used for TV viewing on average of one hour per day. That dwarfs the average Americans Web video viewing by by a factor of 10. More great content on that platform will only drive that number, and ratio, higher.
significant that several of the largest multichannel video distributors have signed up on the Xbox deal. I'm sure many of them would like to be out of the consumer hardware business. Just wait until we see large volumes of smart, connected TVs. They will become like Xbox too.
Could herald a la carte channel purchasing. With ESPN and HBO doing deals here, how long can it be before other, must-have networks, offer their channels on a stand-alone basis - AMC and "Mad Men," anyone?
ransforming television into an IP-based “app” increases the need for a fatter (higher ARPU) broadband pipe, playing into cable’s competitive advantage (the focus of the aforementioned 6/3 blog), significantly reduces capital expenditures and at the same time dramatically improves the user interface/navigation of an MVPD’s programming
inging TV Everywhere to the television is significant, as most consumers continue to want to watch the overwhelming majority of their daily video content on the largest screen - the TV. This is something Netflix’s Reed Hastings has made clear numerous times, based on the behavior of those streaming Netflix (most Netflix watch instantly viewing occurs on the TV).
e wonder how long before an MVPD tries to distribute multichannel video outside the infrastructure they own/control - using the broadband pipes of others (requires consent of programmers and franchising authorities we presume, but technically feasible when you think about what Verizon and Microsoft are enabling).
Read more: http://www.btigresearch.com/2011/10/05/verizon-takes-the-lead-in-going-box-less-cable-industry-needs-to-embrace-their-dumb-pipe-future-far-faster/?utm_source=twitterfeed&utm_medium=twitter#ixzz1a88T3BYG
Wednesday, July 13, 2011
tv online efforts to watch
Article on why tv networks fleeing online
others to watch
distribution points such as Hulu have begun to act as networks or studios. (Hulu, which has just been up for sale, is actually owned in common by several of them.) Sony Pictures' Crackle has some of the Web's flashier offerings, including "The Bannen Way," with its wiseguy con-man hero, stylish split screens and hot-girl assassins; "Angel of Death," penned by comic-book writer Ed Brubaker, with Zoe Bell ("Tarantino's #1 stunt woman") as a hired killer who acquires the compulsion to kill her old masters; and the sci-fi "Trenches," picked up from Disney's now-defunct Stage 9 Digital, which sports impressive "Battlestar Galactica" special effects. All have completed their single seasons but remain available for download in the timelessness of the Web.
Of all the emerging neo-networks — also including My Damn Channel (home to the immigration comedy "Gigi: Almost American," starring Josh Gad, Tony-nominated for "The Book of Mormon"), and Babelgum, which hosts the clever sci-fi sitcom "Date a Human" — perhaps the most compelling is Koldcast, which bills itself as "The Other TV" for the sheer volume and breadth of its offerings. Most of what I've seen there is fairly accomplished, which is to say that much of it is not derivative or artistically immature. (Many of these shows have their own websites or YouTube channels as well.) Among the interesting scenery there is "Ruby Skye P.I.," a Canadian tween mystery; "Verse," a mystery story that features cameos from several estimable poets and the New York underground legend Taylor Mead; and the popular "Anyone But Me," co-created by "thirtysomething" vet Susan Miller, a teen lesbian dramedy that makes up in sweetness and likeness to life what it sometimes lacks in polish.
For the moment, Web-exclusive video is far from a moneymaker. One study of 250 new media titles made available on YouTube, Hulu, Netflix and other major digital platforms revealed that such entertainment attracted sizable audiences — about 1.3 billion views. But the payback to producers was relatively paltry: a combined $15 million paid by 13 major distributors last year.
"This is a tough business to make money in," said Arash Amel, the digital media researcher at IHS Screen Digest who conducted the study. "Original new media brands are just voices shouting in the wilderness, without the support of a major media marketing campaign to make them stand out for the consumer."
That's why digital studios like Vuguru script and structure their new media series with old media in mind. Fox International Channels, News Corp.'s international multimedia business, acquired rights to "The Booth at the End," which it aired on its pay-TV channels, as well as on the Web.
"They're rolling it out online, putting it on TV; they're experimenting, cross-promoting," Tanz said.
The studio is applying familiar "old-media" business models to underwrite the cost of digital production. Vuguru strikes foreign distribution deals that can cover roughly half a given project's budget, in a funding approach borrowed from the world of independent film. And it structures its original series like interlocking Lego bricks that can be snapped together or pulled apart for viewing on multiple platforms.
others to watch
distribution points such as Hulu have begun to act as networks or studios. (Hulu, which has just been up for sale, is actually owned in common by several of them.) Sony Pictures' Crackle has some of the Web's flashier offerings, including "The Bannen Way," with its wiseguy con-man hero, stylish split screens and hot-girl assassins; "Angel of Death," penned by comic-book writer Ed Brubaker, with Zoe Bell ("Tarantino's #1 stunt woman") as a hired killer who acquires the compulsion to kill her old masters; and the sci-fi "Trenches," picked up from Disney's now-defunct Stage 9 Digital, which sports impressive "Battlestar Galactica" special effects. All have completed their single seasons but remain available for download in the timelessness of the Web.
Of all the emerging neo-networks — also including My Damn Channel (home to the immigration comedy "Gigi: Almost American," starring Josh Gad, Tony-nominated for "The Book of Mormon"), and Babelgum, which hosts the clever sci-fi sitcom "Date a Human" — perhaps the most compelling is Koldcast, which bills itself as "The Other TV" for the sheer volume and breadth of its offerings. Most of what I've seen there is fairly accomplished, which is to say that much of it is not derivative or artistically immature. (Many of these shows have their own websites or YouTube channels as well.) Among the interesting scenery there is "Ruby Skye P.I.," a Canadian tween mystery; "Verse," a mystery story that features cameos from several estimable poets and the New York underground legend Taylor Mead; and the popular "Anyone But Me," co-created by "thirtysomething" vet Susan Miller, a teen lesbian dramedy that makes up in sweetness and likeness to life what it sometimes lacks in polish.
For the moment, Web-exclusive video is far from a moneymaker. One study of 250 new media titles made available on YouTube, Hulu, Netflix and other major digital platforms revealed that such entertainment attracted sizable audiences — about 1.3 billion views. But the payback to producers was relatively paltry: a combined $15 million paid by 13 major distributors last year.
"This is a tough business to make money in," said Arash Amel, the digital media researcher at IHS Screen Digest who conducted the study. "Original new media brands are just voices shouting in the wilderness, without the support of a major media marketing campaign to make them stand out for the consumer."
That's why digital studios like Vuguru script and structure their new media series with old media in mind. Fox International Channels, News Corp.'s international multimedia business, acquired rights to "The Booth at the End," which it aired on its pay-TV channels, as well as on the Web.
"They're rolling it out online, putting it on TV; they're experimenting, cross-promoting," Tanz said.
The studio is applying familiar "old-media" business models to underwrite the cost of digital production. Vuguru strikes foreign distribution deals that can cover roughly half a given project's budget, in a funding approach borrowed from the world of independent film. And it structures its original series like interlocking Lego bricks that can be snapped together or pulled apart for viewing on multiple platforms.
Wednesday, May 5, 2010
YouTube's Technical Hiccups
Monday, February 22, 2010
Internet Provides TV with Virtual Water Cooler
Tuesday, January 12, 2010
Wednesday, November 18, 2009
The New Content Economy
http://paidcontent.org/article/419-in-the-new-content-economy-consumers-want-access-not-ownership
Music lawyer Fred Davis says everyone knows future on "access" not "ownership." He says :
As he notes, What is TV Everywhere but ubiquitous access to content? What is Hulu but ubiquitous access to content? Spotify?
Can big media really not figure out how to benefit from this? Yes, the share of the big is smaller (with so many competitors) but won't popular content still command the biggest audiences?
Music lawyer Fred Davis says everyone knows future on "access" not "ownership." He says :
By studying the data about access to music and video, one has to realize the potential of monetizing access. If you add up the views of music videos on YouTube and the audio streams of music on MySpace alone, they are in the billions per year. The popularity of access is enormous. The value of access is enormous. The monetization potential is enormous. But try to remember, for a moment, how long it took the radio industry to evolve into a profitable TV industry? (Hint: a lot longer than a decade.)
As he notes, What is TV Everywhere but ubiquitous access to content? What is Hulu but ubiquitous access to content? Spotify?
Can big media really not figure out how to benefit from this? Yes, the share of the big is smaller (with so many competitors) but won't popular content still command the biggest audiences?
Sunday, November 15, 2009
Online market size
http://www.mediapost.com/publications/?fa=Articles.showArticle&art_aid=116670
"Why license all that content to something that works that well, that seamlessly, yet without the economic model around it?" - Quincy Smith, formerly of CBS. Points out market size
online video: $700 million
TV: $120 billion
Adds "half of those [TV ad buyers] are spending 90% of their time doing Google keywords, not buying online video." Does that show a nascent market or a non-working model that won't get premium content?
"Why license all that content to something that works that well, that seamlessly, yet without the economic model around it?" - Quincy Smith, formerly of CBS. Points out market size
online video: $700 million
TV: $120 billion
Adds "half of those [TV ad buyers] are spending 90% of their time doing Google keywords, not buying online video." Does that show a nascent market or a non-working model that won't get premium content?
Will search ads work for rich media video?
Google made the web into a superior direct mail service. Does it work for video? They are testing a service where users could elect to skip ads and ad guys would only pay for performance. Does this work? Aren't branding ads like on TV far different from informational/transacation ads on direct mail?
Google says:
* 15 second preroll results in a 15 percent abandonment rate - but down from 70 percetn a few years ago.
* creative has three times the influence on abandonment compared to spots on TV.
* 2x as many users abandon 30 second preroll versus 15.
More on the test: Google is opting-in advertisers running video campaigns via AdWords for the test. It will display a small text option in the right-hand corner of the viewer, reading, "Skip this ad." Clicking that text takes users directly to the videos they wish to play. YouTube is running the experiment on clips produced as part of its partner program with creators who have elected to include in-stream ads. Google sees an opportunity, however, to collect valuable user data that could contribute to the development of a quality-score system similar to the one it uses to determine the placement and pricing of search ads. The company is already testing user-choice pre-rolls to gain information on ad popularity. "The longterm vision is more of a pay-for-performance model," said Phil Farhi, product manager at YouTube.
The idea is that advertisers could come to Google with a video, a target-audience number and a maximum price it would pay for each view.
Google says:
* 15 second preroll results in a 15 percent abandonment rate - but down from 70 percetn a few years ago.
* creative has three times the influence on abandonment compared to spots on TV.
* 2x as many users abandon 30 second preroll versus 15.
More on the test: Google is opting-in advertisers running video campaigns via AdWords for the test. It will display a small text option in the right-hand corner of the viewer, reading, "Skip this ad." Clicking that text takes users directly to the videos they wish to play. YouTube is running the experiment on clips produced as part of its partner program with creators who have elected to include in-stream ads. Google sees an opportunity, however, to collect valuable user data that could contribute to the development of a quality-score system similar to the one it uses to determine the placement and pricing of search ads. The company is already testing user-choice pre-rolls to gain information on ad popularity. "The longterm vision is more of a pay-for-performance model," said Phil Farhi, product manager at YouTube.
The idea is that advertisers could come to Google with a video, a target-audience number and a maximum price it would pay for each view.
Wednesday, November 4, 2009
Twitter, social networks helps drive TV interest
http://mediadecoder.blogs.nytimes.com/2009/09/25/has-the-quality-of-tv-improved-or-just-the-buzz-about-it/
Top ten trending topics on Twitter often TV shows...sneak peaks like Glee and Modern Family let buzz build....per NYT "Most of us depend on a network of friends when it comes to confronting the tsunami of new programming in the fall, and let’s face it, between Facebook, Twitter, Linked-In and MySpace, we all have a lot more “friends” making a lot more recommendations."
Per James Poniewozik of Time, "things like Twitter can’t help but intensify the feedback loop. On trending topics, you are more or less watching a real-time Billboard chart — gee, “Glee is number one with a bullet, I better check that out” — and I think it increases the level of excitement.”
Says Syracuse's oft-quoted Bob Thompson, “The television industry has been able to deputize the entire nation as their promotion vehicle."
Top ten trending topics on Twitter often TV shows...sneak peaks like Glee and Modern Family let buzz build....per NYT "Most of us depend on a network of friends when it comes to confronting the tsunami of new programming in the fall, and let’s face it, between Facebook, Twitter, Linked-In and MySpace, we all have a lot more “friends” making a lot more recommendations."
Per James Poniewozik of Time, "things like Twitter can’t help but intensify the feedback loop. On trending topics, you are more or less watching a real-time Billboard chart — gee, “Glee is number one with a bullet, I better check that out” — and I think it increases the level of excitement.”
Says Syracuse's oft-quoted Bob Thompson, “The television industry has been able to deputize the entire nation as their promotion vehicle."
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