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Carri Bugbee

Second coming: the evolution of the companion screen » Digital TV Europe - 0 views

www.digitaltveurope.net/...lution-of-the-companion-screen

second screen 2nd screen social tv TV everywhere television tv Twitter

shared by Carri Bugbee on 23 Apr 14 - No Cached
  • The huge growth of both the smartphone and tablet markets in recent years has brought with it a profound shift in viewing habits. According to recent Nielsen stats, 84% of US smartphone and tablet owners now say they use their devices as second screens while watching TV – looking up information about programmes they are watching, researching or buying goods and interacting with friends.
  • Recent months have seen the consolidation, and even closure, of some of the first crop of dedicated second screen services.
  • McDonnell claims that industry, and industry watchers, have been distracted by the buzz around so-called ‘second screening’ – “misinterpreting the audience behaviour and missing the point that it’s just all about making the TV show better.” He claims that part of this “distraction” has rested with the consumer-facing startups, eager to grab attention from broadcasters and monetise this space independently. “They’ve generated a lot of hype and have largely failed to capitalise on it,” says McDonnell.
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  • While Zeebox may have initially been focused on live, second-screen participation, Rose says that the service is now more focused on the social experience around the TV shows themselves. A recent major update to the app added MyTV, a personalised content feed based on the shows a user follows, with targeted recommendations, fan-community TV rooms and aggregated articles, news, and information. Zeebox is now even syndicating its production tools, synchronised show enhancements and TV chat rooms to its broadcast partners – including Fox, Discovery, NBC and Viacom.
  • likely part of the appeal for Shazam when it comes to TV is the possibility of tapping into the massive pre-existing broadcast ad market, offering multiscreen and interactive extensions for campaigns.
  • “Having one app that is able to do slightly different things for shows is probably a good place to be for anyone who’s investing in the technology side of it, but also for the viewer, because it’s something that you’re familiar with. There is different stuff to do in each show, so you come back for different shows that you like, and it’s a slightly different experience,” says McHugh.
  • “My belief is that broadcasters should take more ownership and control of that [second screen] space –
  • “It’s always been a quandary for broadcasters – do you partner with a cross-channel, cross-platform app such as Zeebox, do you make something for your own channels, or do you make an app for each show,” says Rose. “When it comes to second screen, I think the pendulum started with broadcasters creating an app for each show. We’ve seen in the US some broadcasters have made more than 200 apps and it’s now widely referred to as the app graveyard – these apps from several seasons back. They’re not maintained, they don’t work often, they’ve got old content, some post was last updated 185 days ago. It’s not good. So that then moved to broadcasters sometimes creating their own channel-based apps. But I think it’s hard to get traffic to a channel-based app. People don’t just watch one channel, they watch multiple channels, and so the pendulum kept swinging towards the more general-purpose app.”
  • “It’s always been a quandary for broadcasters – do you partner with a cross-channel, cross-platform app such as Zeebox, do you make something for your own channels, or do you make an app for each show,” says Rose. “When it comes to second screen, I think the pendulum started with broadcasters creating an app for each show. We’ve seen in the US some broadcasters have made more than 200 apps and it’s now widely referred to as the app graveyard – these apps from several seasons back. They’re not maintained, they don’t work often, they’ve got old content, some post was last updated 185 days ago. It’s not good. So that then moved to broadcasters sometimes creating their own channel-based apps. But I think it’s hard to get traffic to a channel-based app. People don’t just watch one channel, they watch multiple channels, and so the pendulum kept swinging towards the more general-purpose app.”
  • “My argument to broadcasters is don’t bother making a dedicated second-screen app. Just look at the simplest user-journey possible, and that’s through the web-browser,” McDonnell says. He claims it’s already “very well proven” that sending an audience to an interactive, mobile-enabled site will drive more traffic than forcing users to download a native app.
  • Carri Bugbee on 23 Apr 14
     
    The word we're using is 'repatriate' - we feel that TV is generating a lot of online activity and it's going elsewhere. We'd like to bring it back into the TV space if we can. What we try to do is almost replicate what people were doing online while they are watching TV and pro-actively serve them a whole lot of this extra information," he says
Carri Bugbee

YouTube superstars: the generation taking on TV - and winning | Tech | The Guardian - 0 views

www.theguardian.com/...rstars-new-generation-bloggers

youtube superstars generation social TV

shared by Carri Bugbee on 15 Apr 14 - No Cached
  • There is growing consensus that traditional media, particularly TV, need to learn lessons from this. "YouTube is beginning to behave like a market leader," noted Elisabeth Murdoch in her 2012 MacTaggart lecture. "Believe at your own risk that their platform is based on homemade videos of cats in washing machines… Brands and talent are using YouTube to create direct-to-consumer relationships. Michelle Phan is the world's most popular make-up expert with over 600 million views. Yes – that's equivalent to a global Olympic audience generated by a 22-year-old putting on Lady Gaga makeup."
  • I'm a professional. If you expect me to jump at the opportunity to do something for free, like you're doing me a solid? No." Perhaps the scariest part of that comment for the old media is that these twenty-somethings know Jamie Oliver best for his supermarket advertising.
  • Cable television offers hundreds of channels, while YouTube gives us potentially millions from a global pool. The second is that technology now provides more versatility for watching content from the internet. For copying the tips from a make-up video, you might choose to use a smartphone in the bathroom; you can watch vlogs in bed on a tablet; for longer, more stylised productions, you've still got the big screen.
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  • "If TV is a monologue then YouTube is a conversation," says Benjamin Cook. "The communal side of TV has been outdated for 10 years. Something like Doctor Who, The X Factor or the Olympics will suddenly get everyone crowded round the TV again, but in general TV just feels more distant to me. I will sit in bed and watch Charlie McDonnell's latest vlog and you feel far closer – like you're watching a friend."
  • at the end of 2010 when the site introduced TrueView, a system that allowed users to skip almost two-thirds of its adverts easily; the innovation being that Google could now charge much more for the ones people did watch to the end
  • "One thing that's completely different is that a lot of creators involve their audience in the creative process," says Sara Mormino, director of YouTube content operations in Europe. "So they ask the audience questions, they ask them to comment and they are also able to look at the stats of exactly who is watching.
  • Feedback is immediate and unfailingly honest, and they tailor their performances every time they post a video. Such an environment has given rise to rabid fandom.
  • When you speak to the YouTubers, it's hard not to think that old-style broadcasters should be concerned by the lack of interest in and sometimes disdain for their product. What this generation (and their audience) loves about the platform is that they grew up with it; it feels like it belongs to them. They make the videos, unmediated by grown-ups, and put them out into the world where they are judged by their peer group.
  • n January 2012, Elisabeth Murdoch's production company, Shine, bought ChannelFlip, a media agency that represents some popular YouTubers, and is expanding rapidly
Carri Bugbee

AwesomenessTV boss talks YouTube networks for kids: 'I don't think we're replacing tele... - 0 views

www.theguardian.com/...eness-tv-children-online-video

youtube video streaming UGC user generated content

shared by Carri Bugbee on 15 Apr 14 - No Cached
  • Robbins, whose career has included producing TV shows Smallville and One Tree Hill, admitted that it's still much more profitable to have a popular TV show than a popular YouTube show, but sees that changing. "The advertising model is catching up very slowly. Right now TV is getting this much money, and YouTube is getting this much," said Robbins, with gestures to indicate huge and tiny ad revenues respectively.
  • That's one reason why DreamWorks bought AwesomenessTV so early in its growth. Robbins said the company plans to spend around $10m creating shows this year, from bigger projects like Side Effects to smaller videos designed for viral sharing.
  • "There's a handful of companies in Los Angeles right now who I think are going to be the next generation of cable networks,
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  • What would Robbins be doing if he was in charge of Nickelodeon in 2013, for example, to respond to changing habits of their audience, and disruptive competition from the YouTube world? "The one thing that I would do: I don't think they make enough content. If you look at the primetime schedule on most of those networks, there are three to four original shows on, and it's not enough. It used to be enough when there were only two channels, but now with a mobile and a tablet, I have so many choices," said Robbins.
  • "That's the big problem: the model is broken. Their shows are relatively expensive to make, so they can only afford to make a certain number of them. So they are sort of stuck, and until they figure out how to change that model, you're going to see the audience keep eroding."
  • children are still sitting on their sofas watching videos, but the source is now YouTube and the devices are smartphones and tablets. "It's not just my kids, or kids in the US. It's kids everywhere," said Robbins, adding that half his company's views come from outside the US, and that half its views and comments come from mobile devices.
Carri Bugbee

Twittervision: Twitter Taps Video Via Amplify, TV Ad Targeting, Vine | Variety - 0 views

variety.com/...r-amplify-adam-bain-1200569725

socialTV social TV television tv Twitter Amplify advertising

shared by Carri Bugbee on 17 Apr 14 - No Cached
  • . In keeping with the company’s emphasis on being the go-to platform to collectively share experiences in real time, Costolo hinted, at a recent appearance at the Brookings Institute in Washington D.C., that Twitter is testing a feature that would allow users to essentially “replay” live events and pinpoint peak moments that can be viewed if missed the first time around.
  • Yet another form of video that will be coming to more and more Twitter feeds is TV Ad Targeting, a clever tool the company took out of beta last week that identifies someone who tweets about a show as likely to have just seen a commercial, and streams to them an accompanying digital promotion.
  • Twitter is also looking a lot like a venue for programming: Several innovative new episodic shortform series have used Twitter as a distribution platform in recent months.
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  • “What it tells me is that Twitter is going to be a player in video distribution,” said Erik Flannigan, executive VP of multiplatform strategy and development at Viacom Entertainment Group
  • For Twitter, the advertising opportunity has come in an area that skeptics early on thought was inviolate territory: inside the stream of tweets from each user’s followers.
  • While Twitter has always been an effective springboard for TV, the platform previously strictly sent users to the TV set or to a link in another browser or app via retweet. That changed in June 2012, with the introduction of Twitter Cards, which essentially expanded a space once restricted to 140 characters to accommodate anything from a still photo to a video player — all without leaving Twitter.
  • For Twitter, Cards also paved the way for Amplify. Twitter first tested the initiative with ESPN last December during telecasts of BCS college football games. Thirty-second game highlights were targeted at sports fans in the Twittersphere just moments after they occurred in real time as a means of drawing more viewers from that segment of the audience most interested in the content, as well as to retain those already watching.
  • Twitter began bringing together other networks and advertisers for Amplify campaigns, including Turner Broadcasting with AT&T and Coke Zero for the NCAA men’s basketball tournament; and with Sprint, Taco Bell and Sony Pictures for NBA postseason games.
  • To wit, BBC America used Amplify for the season premiere of “Top Gear,” seeding Twitter with all sorts of video extras synched to the show’s airing but not available in the broadcast itself.
  • Having introduced TV Ad Targeting in beta mode in May, last week Twitter touted engagement metrics that should help encourage more advertisers to sign on. Among the first brands to experiment included Jaguar, Samsung and Holiday Inn.
  • Video can be intertwined with photos and text. It’s not entirely different from the model of so-called alternative reality games, but it is rooted on the social network instead of an array of websites. “I call it ‘disembodied media,’ ” said Mark Ghuneim, founder and CEO of social media tracking service Trendrr. “It’s a disembodied TV show taking place in disparate parts, times, and sources. It’s crazy in a great way.”
  • Interactive or participatory TV has been on the margins of the business for so long that it seems like it’s never going to happen. But Twitter may be just the soil where a long-delayed germination could actually take root. Let’s not forget that the average member of any audience has a device in their pocket capable of transmitting quality video — how can that not disrupt the traditional understanding of what programming is?
Carri Bugbee

Anti-Piracy Alternative to "Six Strikes" and Copyright Alert System | Variety - 0 views

variety.com/...x-strikes-exclusive-1200572790

comcast piracy cable TV television

shared by Carri Bugbee on 06 Aug 13 - No Cached
  • The owner of the nation’s largest cable operator has begun preliminary discussions with both film and TV studios and other leading Internet service providers about employing technology, according to sources, that would provide offending users with transactional opportunities to access legal versions of copyright-infringing videos as they’re being downloaded.
  • The new approach would be an alternative to the Copyright Alert System, a voluntary initiative many leading programmers and distributors like Comcast have been utilizing since February. Other CAS participants include AT&T, Verizon, Time Warner Cable and Cablevision, as well as all studios affiliated with MPAA.
  • Using pirated content as a platform to drive legal transactions reflects an alternate philosophy regarding copyright infringement, one that sees the illegal activity less as a crime that requires punishment and more as lead generation to a consumer whose behavior is borne out of inadequate legitimate digital content options.
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  • But there are a few crucial differences: With the new conversion strategy, the notification would occur in real time. Though not instantaneous, it would be a good deal faster than CAS, which sends subscribers e-mails, voicemails or browser-based messages that can occur weeks after the alleged piracy takes place.
Carri Bugbee

4th Edition of SocialTV Index Tracking Survey by Ring Digital llc Shows Twitter is Up 2... - 0 views

www.prnewswire.com/...r-comment-on-tv-300257566.html

socialTV television TV social TV OTT Twitter News politics

shared by Carri Bugbee on 27 Apr 16 - No Cached
  • Ring Digital estimates the Social TV Engager population at ~57 million TV viewers.
  • Twitter was used by 28.4% of the Social TV Engager population up 28% from six months ago.
  • News was selected by 48.1% of Social TV Engagers as one of five genres of prime-time TV content about which they have voted, posted, shared or commented.
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  • The results reveal the strength of Twitter as a core news platform. Journalists, bloggers and athletes use Twitter as a next-generation newswire. For these users, Donald Trump has done a great service to the social media community by cementing the useful role that Twitter plays in news dissemination, even if the corporate team at Twitter continues to believe they can create a mass media juggernaut that competes head-to-head with Facebook."
Carri Bugbee

Twitter and TV: How should brands respond to multi-screening? | MyCustomer - 0 views

www.mycustomer.com/...166804

socialTV social TV television TV Twitter ads advertising

shared by Carri Bugbee on 15 Apr 14 - No Cached
  • On their own, Twitter efforts resulted in a less-than-inspiring 4% boost in positive reactions to the well-known supermarket. Similarly, TV only managed to generate a measly 4% incline. However, as a twosome, TV and Twitter notched up a far greater 21% rise – that’s 21% more people willing to do their next shop at Sainsbury’s than before.
  • “This interaction between TV and Twitter is not something that we’ve orchestrated,” Mortensen reminded us. “It’s something that the audience are doing themselves. It’s driven by people, so it’s very natural.”
  • The findings indicated two different ways of engaging with Twitter in connection with TV – the ‘lean forward’ and ‘lean back’ approaches. Those who ‘lean back’ while interacting want stimulation without having to commit. In causal browsing mode, they will switch between the first and the second screen at will. Advertisers should not make the mistake of thinking that this nonchalant attitude creates disengagement though – having both screens working together keeps people in the living room in front of ads and makes them less likely to wander off. This type of audience are still taking in messages implicitly, and often find themselves unconsciously responding to brands' triggers.
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  • Those who interact while ‘leaning forward’, meanwhile, are actively looking to extend the TV experience. They seek to become part of the show and become empowered by having their voice heard. This kind of interaction is very emotive, and it’s this emotion that heightens engagement.
  • three-quarters of users look up a tweet when they see it advertised. As a result, TV ads which feature hashtags drive 42% more conversation than those which don’t.  
  • different types of TV shows have different social rhythms which determine the points at which people tweet, meaning brands must choose their moment carefully. So, advertisers need to understand how broadcasted content works in order to anticipate activity and capitalise on prime moments.
  • 3. Association – If your brand isn’t on TV, or if a campaign has come to an end, you can still engage your audience on Twitter by capitalising on trending TV moments.
  • the findings show that, on the whole, entertaining tweets – which are either interesting or funny, or best of all, both – are the most effective.
  • Receiving a retweet “evokes a strong positive emotional reaction” according to Thinkbox, which, for advertisers, is right on the money. Literally.  
  • “The increasing evidence we’re seeing is that there is a symbiotic effect. So when tweets go up, viewing [of the related TV show] goes up... and when the viewing of a show goes up we see evidence of tweets going up as well.” 
Carri Bugbee

The Future of TV? No More Commercials, Netflix Exec Says | Media - Advertising Age - 0 views

adage.com/...293275

commercials netflix advertising ads TV streaming OTT over-the-top

shared by Carri Bugbee on 20 May 14 - No Cached
  • traditional scheduled TV is limited by what he called the "tyranny of the grid," or the 21 hours of prime-time programming that get the most viewers. Anything that doesn't fit into that grid gets thrown out
  • In contrast, internet TV allows audiences to aggregate over time and space, and can afford to curate content that has smaller audiences at any one time.
  • Netflix originals don't need to be 48 minutes long to fit into a prime-time schedule, and don't need to force cliffhangers that keep viewers in suspense for the next episode, because viewers can "binge" into the next episode right away.
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  • Netflix is using its massive collection of consumer data to learn what users want to see and generate personalized recommendations for everyone.
  • In a more personalized, unbundled world, advertising would also need to evolve. "Internet TV is divorced of the need of advertising revenue because we can develop direct relationships with the consumer," Mr. Hunt said, calling the subscription, ad-free model is very popular with consumers.
  • Marketers will "need to find a different place to advertise,"
  • he same technology that lets Netflix personalize recommendations could also allow streaming services to select the right commercial for the right consumer. This would mean viewers see fewer, but more relevant ads, and marketers would be better able to target very specific consumers.
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