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Last month, Nielsen released a study suggesting that the volume of tweets related to a given broadcast “caused significant changes in live TV ratings” 29 percent of the time.

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.

During the Super Bowl in February, Twitter was on fire. The game and its commercials generated some 1.8 billion tweets that were seen by 15.3 million Twitter users. The esurance spot prompted the most Twitter chatter, with 1.2 million Twitter users posting nearly 1.9 million messages about it.

However, Forbes points out the longer-term effect. “Cable companies get paid for the ads that consumers are no longer watching. Since ad rates are determined by eyeball counts, those rates will decline as more viewers opted-out, so cable companies will need to figure out new ways to make money.” 

esearch suggests that online video tends to largely act as a complement rather than a replacement for traditional TV, at least for the time being.

American adults watch an average of 4 hours and 36 minutes of live TV per day, as opposed to half-an-hour watching time-shifted TV, 11 minutes using a game console, 1 hour and 7 minutes using internet on a computer and 1 hour and 25 minutes using a smartphone.

The difference in declines between the viewing population and the 18-24 population as a whole suggests the growing presence of “cord-nevers” – people who have never subscribed to a pay-TV service and are instead getting all their programming options from OTT services. It also means that TV’s grip on its young viewers remains, but is loosening.

In Q2, 12-17-year-olds watched an average of 18 hours and 58 minutes of traditional TV per week, representing a 14-minute-per-day year-over-year decline. That’s an uptick from recent declines.

African-Americans viewers continued to consume the most TV on a monthly basis in Q2, more than double the amount of time spent by Asians, who spent the least amount of time watching TV (206:03 vs. 83:02).

they will be able to choose to view material from different perspectives, including that of the hostage.

Other parts of the experience allow viewers to choose from a selection of missed calls on a character’s cell phone or to read their text messages to glean new information. “It’s more narrative detail for the superfans,” said Rodrigues.

Sproule said that Arctic Air’s additional content wasn’t “bolted on” after the episode had already been written and shot. “It’s part of the original script—it was part of the creative process,” she said.

A competitor of Xaxis, never.no, also offers a syncing product called Story a. It has implemented second-screen campaigns for P&G on Telemundo as well as campaigns on Bravo TV and USA Network. According to Kelly Moulton, chief commerical officer of never.no, the USA Network experienced a 20 percent lift in its C3 ratings from Nielsen as a result of a social spot tied into the Psych season finale.

"For a unified-screen strategy to really shine, all touch points need to be properly synchronized. The ad execution on the second screen shouldn't just be a repeat of the 30-second spot airing on broadcast; it should be complementary and draw a consumer in," says Redniss.

"If advertisers want to reach Amazing Race viewers, they don't care about reaching them only as they are watching the show," he says. The water cooler effect that happens around shows such as Mad Men continues on well into the next morning, he notes, making it a short-sighted strategy to just focus on the show. "It's all about having intelligence about the audience and reaching them where ever they are," he says. PlaceIQ uses Rentrak for its TV viewing data, which has access to 13 million households.

“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?

on the TV front – we work with connected TV ecosystem companies like Shazam, Cisco, and others that are building Automatic Content Recognition (ACR) into HD and 4K displays. In the increasing model of TV/mobile co-viewing/browsing, a sponsor could deliver a message that is first seen on the TV but is also sync’d to become a Call-To-Action (CTA) on the mobile device of the viewer.  And as the ad will know the location of the user, they could tailor the message to direct the customer to the nearest retail location of the brand advertiser.”

In 2011 we worked with Fox TV and our member company Loopt on the show 'Bob’s Burgers.' They approached us with an LBM idea –they wanted to build a fanbase as the show was just starting.  So, we partnered with the California-based chain Fatburger in 64 locations to rebrand them as Bob’s Burgers.  On one of the episodes, one of the animated characters checked-in on their mobile device.  We’re also worked with Bravo on shows like Real Housewives and Top Chef – to drive viewers to real-world retail locations that the characters on the show frequent.”

Let’s take a big retailer like The GAP – they spend $$$ on great TV ads with great music.   Instead of The GAP saying 'Check in on Foursquare today at the GAP and save 20% on a pair of jeans'  – essentially giving their margin away, wouldn’t it be better if I could say 'Hey, you know that great commercial you saw that got you into the store? Let me give you a free copy of that song as a download right now.'  So we’re seeing a shift from just discounts and coupons and moving toward an exchange of valuable content.  The producers and broadcasters of that content have a huge opportunity to participate in that.”

Regarding the potential for backlash against location-based marketing, Khan is optimistic:  “The way we look at it is, if you can demonstrate real value and relevance to an individual user, they will be willing to share their location data. It’s almost a mathematical equation.  You have to articulate opportunities around the value exchange.   Four years ago, the stats for Foursquare showed that more than 82% of the location data (check-ins) were driven by men.