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...
Subscribe to:
Posts (Atom)