Last week at NATPE, I had the pleasure of interviewing Frank Cooper, PepsiCo's Chief Marketing Officer, Global Consumer Engagement. Frank provides great insights into how PepsiCo's brands are evolving from a traditional approach to marketing to the consumer, to one that is more focused on engaging them with the brands. Part of doing this involves adopting a "beta culture" throughout the company, where campaigns are iterative and not necessarily fully polished at the outset.
Frank sees content as a key element in engaging consumers and believes there's a huge opportunity in episodic content online, where PepsiCo brands themselves will become more active. That said, he's very pragmatic about branded entertainment, explaining that these days everyone is vying for the consumer's precious attention. Brands can't do sub-par work if they expect to be competitive in their entertainment offerings.
Among the other topics Frank discusses:
- The increasingly important role of data in informing content choices, channels and other decisions.
- How expectations of those under age 25 differ from those older than 25.
- Success metrics of two recent campaigns, Mountain Dew's "DEWmocracy" and Pepsi Refresh and what the company learned from each of these.
- The organizational challenges consumer packaged goods companies face in adapting their marketing practices.
It may be 155 years-old, but Macy's marketing approach is thoroughly modern, as the company has fully embraced mobile and digital technologies to drive its business. In a fireside chat at the VideoNuze 2012 Online Video Advertising Summit, Macy's SVP, Marketing Innovation and Integration, Joe Feczko explains how Macy's sees itself as an entertainment brand, and how it is pushing further into video and branded content.
One initiative in particular that has paid off is the use of QR codes linked to videos about products. Joe said usage has jumped from 15K during the test phase to 750K this past season. Macy's is also leveraging its relationships with celebrities and the new program "Fashion Star" for more interactivity with target customer segments. Joe provides a compelling look inside how an established brand is using all of today's technology tools to keep up with a changing retail landscape.
Categories: Brand Marketing
More proof that online video is opening up new advertising and engagement possibilities beyond traditional TV, as premium travel lifestyle company Tumi - which has never run a TV ad - has opted to exclusively sponsor a new web series called "Bourdain's TV Crew." Tumi's SVP, Brand Management, Alan Krantzler told me last week that its commitment was driven by a desire to increase brand awareness among younger customers and to leverage Bourdain's large Facebook fan base to build its own.
Categories: Brand Marketing
Categories: Brand Marketing
Surfing over to YouTube the other day, I was struck by how the site could well become the ultimate brand engagement platform. Below is a screen shot of what I found - nearly all the visible real estate showcased 2 different brand contests encouraging users to submit videos for a chance to win prizes.
The first contest, the "Kodak True Colors: Video Portrait Challenge," was just kicking off, and therefore had prominent positioning. The contest urges users to submit as many 10-second videos as they'd like in pursuit of a grand prize including 2 tickets to a taping of the "Conan O'Brien" show. The other contest, "The Best of Us Challenge," by the International Olympic Committee, shows athletes doing something outside their specialty (e.g. Michael Phelps doing speed putting, Lindsey Jacobellis doing the hula hoop) and asks user to emulate these or create their own challenge. The winner receives a trip for 2 to the 2010 Vancouver winter games. The contest was featured in YouTube's "Spotlight," a section on the home page populated by YouTube's editors based on user ratings.
These types of brand contest are not necessarily new, nor are their inclusion in YouTube. Over a year ago I suggested there was real opportunity in what I called "purpose-driven user-generated video" - the idea that with YouTube turning millions of people into amateur video producers, their enthusiasm and skills could be channeled to specific purposes. The success of campaigns like Doritos' $1 Million Super Bowl challenge has amply demonstrated that great creative and great buzz can be generated from a well-executed UGV campaign.
What YouTube's home page that day demonstrated to me is that as brands continue embracing online video and user participation, the go-to partner will be YouTube. There's simply no better way to reach a broad audience of likely contestants than by making a big splash on YouTube. While YouTube's monetization challenges have become one of the most-talked about industry topics this year, I'd argue there's been insufficient focus on the fact that since May '08, YouTube's share of overall video viewing has stayed right around 40%, at least according to comScore. In that time, YouTube's videos viewed per month have more than doubled, from 4.2 billion, to 10.4 billion in September '09.
Even as sites like Hulu and others have launched and promoted new and innovative sites, YouTube continues to retain its share of the fast-growing online video market. YouTube has also matured considerably, with its Content ID system largely sanitizing the site from pirated video and helping change its perception among copyright owners. (Note that on my recent visit to YouTube I searched in vain for a video of Johnny Damon's double steal in Game 4 and found nothing but "This video is no longer available due to a copyright claim by MLB Advanced Media." In the old days a video like that would have been available all over the site.)
While YouTube has made headway adding premium content partners, a significant part of its appeal remains users uploading and sharing videos. YouTube's combination of massive audience, ubiquitous brand, user interactivity and promotional flexibility make it an ideal partner for brands looking to engage their audiences through video.
Last summer I got plenty of flak for my post, "Does It Actually Matter How Much Money YouTube Loses?" in which I argued that YouTube's long-term strategic value (and Google's financial muscle to support the site's short-term losses) superseded the company's current losses. While I didn't mean to suggest in that post that a company can afford to lose money forever, I was trying to contend that YouTube, the dominant player in a fast-growing and highly disruptive market will eventually find its way to profitability and is well worth Google's continued investment.
YouTube is a rare example of a "winner take all" situation; there is no other video upload and sharing site even on the radar. As video becomes ever more strategic for all kinds of brands, they will increasingly recognize that YouTube is a must-have partner. If Google can't figure out how to make lemonade out of YouTube's lemons, then shame on them. I'm betting, however, that they will.
What do you think? Post a comment now.
Following are 4 items worth noting from the Oct 26th week:
1. Online video viewership claims are murky - Props to Jim Louderback, CEO of Revision3, for his opinion piece in AdAge this week, "Where's the Outrage Over Online Video Viewership Claims" in which he cites multiple examples of how content providers' hyperbole and the media's lack of fact-checking/analysis allow all kinds of ridiculous viewership numbers to gain traction as fact. Compounding things is the inconsistent definition of what even constitutes a "view." Jim notes that a fraction-of-a-second play start often can be enough. For advertisers in particular, trying to understand where to place their spending in the emerging online video medium, it is "buyer beware." A great reminder of how immature the online video industry remains.
2. Zappos's "world's fastest nudist" viral video campaign adds to media's gullibility - The NY Times had a great item this week on Zappos's "world's fastest nudist" campaign, a series of humorous videos on YouTube showing a guy named Donnie streaking around the streets of New York with nothing but a fanny pack on.
While the videos are clever, the media that picked them up and ran with them as being real are now looking decidedly dim. CNN's Anderson Cooper surely tops the gullibility list, as he and anchor Erica Hill featured one of the videos (showing Donnie buying a taco at a food stand) on AC 360's nightly "The Shot" feature. Cooper blithely passes on that Donnie "holds over 400 nude speed records..." One suspects Walter Cronkite would have dug in and not have been duped by Zappos. However, I'm hardly one to talk, as I was taken in by the "Megawoosh Waterslide Video" this past summer. The old adage "don't believe everything you read" really needs to be updated to "don't believe everything you watch." Meanwhile, Zappos undoubtedly loves all the free publicity.
3. Enough of HDTV, get ready for 3DTV - Speaking of not believing what you watch, and shifting focus somewhat from online video, I got my first peek at what 3DTV looks like earlier this week. 3D has become a mini-rage recently, with various TV set manufacturers launching 3D-enabled models, looking to drive content creators to jump on the 3D bandwagon. The catch to 3D video is that it's much more expensive to produce because of the need for multiple cameras. That may be OK for movies where the extra cost can be recouped through higher ticket prices, but for regular TV shows it's been a serious obstacle.
However, the approach used by a small NJ-based company named HDLogix, whose demo I saw, introduces a workaround to this issue. Instead of requiring original production to be shot in 3D, the company runs existing video through its algorithms to dynamically generate 3D effects (I saw segments of the movie "300"). That means no additional production expense is incurred by the content creator. Don't ask me any more about how it works, as the technology is way outside my sweet spot. I will say this, it's pretty cool stuff and I could see 3D adding a lot of new value to online video, especially advertising.
4. What to look for in 2010 - One last follow-up to the CTAM Summit panel I moderated on Tuesday. My last question to the panelists was to name 1 thing that the 1,500+ cable industry attendees in the audience should be paying most attention to in 2010. These were their answers:
Paul Bascobert (Chief Marketing Officer, Dow Jones & Company) - e-book readers make huge advances, especially with a new Apple product hitting the market
Matt Bond (EVP, Content Acquisition, Comcast) - the "customer is king" - stay focused on that
Andy Heller (Vice Chairman, Turner Broadcasting System, Inc.) - the advent of 4G mobile networks and adoption of the "mobile Internet"
Jason Kilar (CEO, Hulu) - follow your companies on search.twitter.com to stay in touch with what your customers are saying
David Preschlack (EVP, Disney and ESPN Networks Affiliate U.S. Sales and Marketing) - the number of access points for content providers will continue to explode
Peter Stern (EVP & Chief Strategy Officer, Time Warner Cable) - make every interaction with customers an opportunity to build a positive relationship
Great food for thought.
Enjoy your weekends!
In last Friday's "4 Items Worth Noting..." post, I made a quick reference to the Megawoosh Waterslide video - what I thought was a genuine user-generated video of a German man barreling down a huge waterslide into a small pool. It turns out that I, along with many others, got punked. It's a fake, created through effects by a German marketing firm and sponsored by Microsoft Office. If you want all the details, NewTeeVee has a great write-up.
The waterslide incident contrasts with a second incident that happened to me just two weeks earlier. Taken together, I think the two represent a fascinating, yet unexplored side-effect of the broadband video revolution that all of us as human beings are currently experiencing. Let me explain what I mean.
In July 31st VideoNuze Report podcast, Daisy Whitney was very excited to describe the "JK Wedding March" viral video phenomenon (19 million + views to date) and how YouTube was publicizing on its blog that it was generating exceptional click-throughs and revenue for the video's background song "Forever" by Chris Brown through overlay ads.
When I quickly watched the video, my internal "authenticity detector" went off loudly as I wondered whether the wedding march was authentic or simply staged to generated buzz and sales for the song. I expressed this skepticism to Daisy on the podcast, and it wasn't until I did further research, and found the young Minnesota wedding couple interviewed on the "Today" show that my suspicions were allayed.
Meanwhile, when I quickly watched the Megawoosh video I thought, hey, it's an outlandish stunt. I wondered about the engineering involved to pull it off, but my authenticity meter remained relatively quiet.
Here's what I think the difference is: In the JK Wedding March I saw an obvious commercial opportunity that made me suspicious, while with the Megawoosh slide I did not see such opportunities so I was more willing to accept it as genuine. My authenticity lens has been shaped by having watched many broadband videos over the years where brands were involved in subtle and clever ways that I've become very aware. On the flip side, I've seen so many incredible user-generated stunts, that I've become conditioned to thinking that just maybe, anything is possible to pull off and some people's willingness to risk injury and death in the name of fleeting celebrity is unlimited.
The larger point here is that broadband video puts all of us in unchartered waters with respect to understanding if what we're watching is real. In the past, we rarely needed to question this. We knew when we were watching special effects or a documentary, reality programming or scripted fiction. And when authenticity representations were breached, it was a big deal (remember the outcry when NBC's "Dateline" admitted staging a test crash of a GM pickup truck?).
With broadband video however, we often don't even know who the producers are, much less what hidden motivations they may have or what third parties may be involved. Sometimes things are incongruous - for example, why is Microsoft Office even involved in sponsoring this German waterslide stunt?
Bottom line: all of us are on a new learning curve, requiring that we develop entirely new media literacy skills so we can successfully navigate broadband video's unchartered territory.
What do you think? Post a comment now.
After several weeks of holidays and vacations, Daisy Whitney and I are back on track this week with our 24th podcast of the year, for July 24, 2009.
This week Daisy and I dig into YouTube from two different angles. Daisy picks up on a piece she wrote that explains the success YouTube is having attracting brands to set up their own channels within the site. These channels can cost up to $200K or more per year. However, there are lots of less expensive ways to work with YouTube, and as Daisy explains, with video helping drive purchase intent, it's a prerequisite that every brand should now have some type of a video presence there.
Despite this, as I wrote earlier this week in "Google is Being Clumsy in Explaining YouTube's Performance," I think YouTube's progress isn't being messaged very well to the market. In its recent Q2 earnings call, a supplementary analyst call and a blog post earlier this week, Google executives sent confusing and sometimes unsupported messages about how far along they are in figuring out to monetize YouTube's premium content-oriented traffic. Given YouTube's bellwether status in the industry, it is being closely watched by many for signs of success or failure.
Click here to listen to the podcast (14 minutes, 6 seconds)
The VideoNuze Report is available in iTunes...subscribe today!
Paid video forecast to surpass free - A Strategy Analytics forecast that got attention this week says that the global paid online video market will be worth $3.8B in 2009, exceeding the global free online video segment which will total $3.5B. I haven't seen the details of the forecast, but I'm very curious what's being included in each of these numbers as both seem way too high to me. The firm forecasts the two segments to grow at comparable rates (37% and 39%), suggesting that their size will remain relatively even. I suspect we're going to be seeing a lot of other research suggesting the paid market is going to be far larger than the ad-supported market as sentiment seems to be shifting toward subscriptions and paid downloads.
Consumer generated video contests remain popular - VideoNuze readers know I've been intrigued for a while now about contests that brands are regularly running which incent consumers to create and submit their own videos. Just this week I read about two more brands jumping on the bandwagon: Levi's and Daffy's retail stores. NewTeeVee had a good write-up on the subject, citing new research from Forrester which reviewed 102 different contests and found the average prize valued at $4,505. I see no end in sight for these campaigns as the YouTube generation realizes it's more lucrative to pour their time into these contests than training their cats to skateboard. Brands too are recognizing the wealth of amateur (read cheap!) talent out there and are moving to harness it.
MySpace has lots of work ahead to become a meaningful entertainment portal - The WSJ ran a piece on Monday based on an interview with Rupert Murdoch in which he was quoted as saying MySpace will be refocused "as an entertainment portal." That may be the winning ticket for MySpace, but I'm not totally convinced. MySpace has been in a downward spiral lately, with a 5% decline in audience over the past year, a 30% headcount reduction and an executive suite housecleaning. While always strong in music, according to comScore, its 48 million video viewers in April '09 were less than half YouTube's 108 million, while its 387 million video views were about 5% of YouTube's 6.8 billion. Clearly MySpace has a very long way to go to give YouTube serious competition. It will be interesting to see if the new management team Murdoch has installed at MySpace can pull off this transition.
Clearleap announces Atlantic Broadband as first public customer - Clearleap, the Internet-based technology firm I wrote about here, announced Atlantic Broadband as its first public customer. Atlantic is the 15th largest cable operator in the U.S. I spoke with David Isenberg, Atlantic's VP of Products, who explained that Clearleap was the first packaged solution he's seen that allows broadband video to be inserted into VOD menus without the need for IT resources to be involved. Atlantic initially plans to use Clearleap to insert locally-oriented videos into its local programming lineup. It also has special events planned like "Operation Mail Call." which allows veterans' families to upload videos, plus coverage of local sports, and eventually filtered UGC. By blending broadband with VOD, Isenberg thinks Clearleap gives him a "giant marketing tool" to raise VOD's visibility. As I've said in the past, VOD and broadband are close cousins which can be mutually reinforcing; Clearleap facilitates this relationship.
New Balance's "Made in USA" video - Have you seen the new 3 minute video from athletic shoemaker New Balance? Yesterday I noticed a skyscraper ad for it at NYTimes.com and a full back-page ad in the print version of the Boston Globe. New Balance's video promotes the fact that it's the only athletic shoemaker still manufacturing in the U.S. (though it says only 25% of its shoes are made here). There's also a fundraising contest to win a trip to one of its manufacturing facilities. Taking ads in online and offline media to drive viewership of a brand's original video is another way that advertising is being reimagined and customers are being engaged.
Joost - R.I.P.-in-Waiting - There's been a lot written this week about Joost's decision to switch business models from content aggregation to white label video platform provider. Regrettably, I think this is Joost's last gasp and they are in "R.I.P.-in-waiting" mode. Joost, which started off with lots of buzz and financing ($45M) by the co-founders of Skype and Kazaa, is a cautionary tale of how quickly the broadband video market is moving, and how those out of step can get shoved aside. Joost made a critical strategic blunder insisting on a client download based on P2P delivery when the market was already moving solidly in the direction of browser-based streaming. It never recovered. Given how crowded the video platform space is, I'm hard-pressed to see how Joost will carve out a substantial role.
Cablevision wins its network DVR case - Not to be missed this week was the U.S. Supreme Court's decision to refuse to hear an appeal from programmers regarding cable operator Cablevision's "network DVR" plan. The decision means Cablevision can now deploy a service that allows subscribers to record programs in a central data center, rather than in their set-top boxes. This leads to lower capex, fewer truckrolls, and more storage capacity for consumers. There's also an intersection point with "TV Everywhere," as cable subscribers will potentially have yet another remote viewing option available to them. Content is increasingly becoming untethered to any specific box.
Given the pervasiveness of gloomy economic news, I'm always on the lookout for evidence of growth, especially in the broadband video space. That's why news that TurnHere, the broadband video production and advertising company, shared with me last week caught my attention. The company will report later this morning that its business has doubled in '09 vs. '08. John McWeeny, TurnHere's COO briefed me last week on what's behind the improved numbers. Understanding TurnHere's model offers plenty of lessons for other broadband video market participants.
As background, TurnHere has developed a global network of 7,000+ independent filmmakers, which it taps into for soup-to-nuts creation of made-for-broadband content for its clients. TurnHere only accepts into the network well-credentialed professionals who are thoroughly vetted. The company's clients come from two sources. First, from channel resellers, who are primarily Internet Yellow Pages companies selling online ads to local businesses that increasingly want a video presence online. And second, through direct sales to brands who increasingly want to capitalize on video's impact on their web sites. '09 growth is coming in equal parts from both sides of the business.
Listening to John describe TurnHere's business, I was repeatedly struck by the fact that this is a pretty complicated business to run successfully. Clients are in multiple locations, necessitating multiple filmmakers to be involved in projects. Yet brand standards and formats must be adhered to for consistency across videos. And often there's a 3rd party agency or marketing/online consultant involved that must be pleased as well. Tight budgets and timelines are the norm. So making all this work is not trivial. In fact John remarked that one of the company's core competencies is "how to leverage a distributed network of creative people." That seemed like a spot-on assessment to me.
To succeed, TurnHere has developed strict internal policies and procedures to guide its work. Everything from recruiting filmmakers to selecting them for projects to scoping the project with clients to managing the video production process to reviewing filmmakers' work has some formal structure around it. John explained a key differentiator for TurnHere is its laser focus on video that is made-for-broadband. The company is not aiming to make commercials that run on-air and cost hundreds of thousands of dollars. Rather, it looks to produce high-quality, yet inexpensive shorts in a documentary-style, with real people, not actors.
The result is that for clients used to getting just one ad for their budget, they are now getting dozens or even hundreds of web-only videos. TurnHere's surging business is due to more marketing executives opting to allocate budget to the new broadband video medium to reach their target audience vs. following traditional TV advertising rules. When you read research about ad budgets shifting to online, TurnHere is right on the front lines of making this happen. The company has done work for brands like InterContinental Hotels, Williams-Sonoma, American Express and others.
Emphasizing attributes like process development, specialization, customization, flexibility, affordability, reach and quality are the reasons TurnHere is succeeding, despite the down economy. In fact, a lot of what John said echoed what Demand Studios' EVP Steven Kydd told me recently. Demand Studios too is focused on building processes to crank out large volumes of high-quality web-only video. Yesterday's post on how SundaySky is enabling automated video from web-based content is yet another example volume-based video production.
The common themes here are that broadband video is a different medium than TV. People who want to succeed in the broadband video medium - whether as content providers themselves or in service to content providers or brands - need to recognize the differences and engineer their businesses appropriately. Scale and cost-efficiency matter a lot more in broadband than they did in TV where expensive, hand-crafted video was the norm. In this context, learning how to blend technology with creative talent is going to be a real competitive differentiator.
What do you think? Post a comment now.
Back on December 16, 2007, I offered up 6 predictions for 2008. As the year winds down, it's fair to review them and see how my crystal ball performed. But before I do, a quick editorial note: each day next week I'm going to offer one of five predictions for the broadband video market in 2009. (You may detect the predictions getting increasingly bolder...that's by design to keep you coming back!)
Now a review of my '08 predictions:
1. Advertising business model gains further momentum
I saw '08 as a year in which the broadband ad model continued growing in importance as the paid model remained in the back seat, at least for now. I think that's pretty much been borne out. We've seen countless new video-oriented sites launch in '08. To be sure many of them are now scrambling to stay afloat in the current ad-crunched environment, and there will no doubt be a shakeout among these sites in '09. However, the basic premise, that users mainly expect free video, and that this is the way to grow adoption, is mostly conventional wisdom now.
The exception on the paid front continues to be iTunes, which announced in October that it has sold 200 million TV episode downloads to date. At $1.99 apiece, that would imply iTunes TV program downloads exceed all ad-supported video sites to date. The problem of course is once you get past iTunes things fall off quickly. Other entrants like Xbox Live, Amazon and Netflix are all making progress with paid approaches, but still the market is held back by at least 3 challenges: lack of mass broadband-to-the-TV connectivity, a robust incumbent DVD model, and limited online delivery rights. That means advertising is likely to dominate again in '09.
2. Brand marketers jump on broadband bandwagon
I expected that '08 would see more brands pursue direct-to-consumer broadband-centric campaigns. Sure enough, the year brought a variety of initiatives from a diverse range of companies like Shell, Nike, Ritz-Carlton, Lifestyles Condoms, Hellman's and many others.
What I didn't foresee was the more important emphasis that many brands would place on user-generated video contests. In '08 there were such contests from Baby Ruth, Dove, McDonald's, Klondike and many others. Coming up in early '09 is Doritos' splashy $1 million UGV Super Bowl contest, certain to put even more emphasis on these contests. I see no letup in '09.
3. Beijing Summer Olympics are a broadband blowout
I was very bullish on the opportunity for the '08 Summer Games to redefine how broadband coverage can add value to live sporting events. Anyone who experienced any of the Olympics online can certainly attest to the convenience broadband enabled (especially given the huge time zone difference to the U.S.), but without sacrificing any video quality. The staggering numbers certainly attested to their popularity.
Still, some analysts were chagrined by how little revenue the Olympics likely brought in for NBC. While I'm always in favor of optimizing revenues, I tried to take the longer view as I wrote here and here. The Olympics were a breakthrough technical and operational accomplishment which exposed millions of users to broadband's benefits. For now, that's sufficient reward.
4. 2008 is the "Year of the broadband presidential election"
With the '08 election already in full swing last December (remember the heated primaries?), broadband was already making its presence known. It only continued as the year and the election drama wore on. As I recently summarized, broadband was felt in many ways in this election cycle. President-elect Obama seems committed to continuing broadband's role with his weekly YouTube updates and behind-the-scenes clips. Still, as important as video was in the election, more important was the Internet's social media capabilities being harnessed for organizing and fundraising. Obama has set a high bar for future candidates to meet.
5. WGA Strike fuels broadband video proliferation
Here's one I overstated. Last December, I thought the WGA strike would accelerate interest in broadband as an alternative to traditional outlets. While it's fair to include initiatives like Joss Wheedon's Dr. Horrible and Strike.TV as directly resulting from the strike, the reality is that I believe there was very little embrace of broadband that can be traced directly to the strike (if I'm missing something here, please correct me). To be sure, lots of talent is dipping its toes into the broadband waters, but I think that's more attributable to the larger climate of interest, not the WGA strike specifically.
6. Broadband consumption remains on computers, but HD delivery proliferates
I suggested that "99.9% of users who start the year watching broadband video on their computers will end the year no closer to watching broadband video on their TVs." My guess is that's turned out to be right. If you totaled up all the Rokus, AppleTVs, Vudus, Xbox's accessing video and other broadband-to-the-TV devices, that would equal less than .1% of the 147 million U.S. Internet users who comScore says watched video online in October.
However, there are some positive signs of progress for '09. I've been particularly bullish on Netflix's recent moves (particularly with Xbox) and expect some other good efforts coming as well. It's unlikely that '09 will end with even 5% of the addressable broadband universe watching on their TVs, but even that would be a good start.
Meanwhile, HD had a banner year. Everyone from iTunes to Hulu to Xbox to many others embraced online HD delivery. As I mentioned here, there are times when I really do catch myself saying, "it's hard to believe this level of video quality is now available online." For sure HD will be more widely embraced in '09 and quality will get even better.
OK, that's it for '08. On Monday the focus turns to what to expect in '09.
What do you think? Post a comment now.
This morning Twentieth Century Fox and Metacafe are announcing "The Thirty Second Film Contest," which challenges contestants to put together a winning thirty second spot for the epic film "Australia," opening on November 26th. Though not yet fully live, I like the direction of this initiative a lot, and believe it provides an innovative example of how to blend traditional film marketing techniques with broadband-enabled audience participation.
Contestants visit the promotional site hosted at Metacafe, a large aggregator of short-form entertainment, to obtain film-related assets provided by Fox. These can be augmented with the contestant's own music, voiceovers, sound effects and artwork to create a highly original entry. Entries are submitted through Metacafe and will be judged by the folks at Fox and Bazmark (Australia director Baz Luhrman's company).
The contest is actually meant to be quite serious and semi-professional; Luhrmann has also created a whole library of videos about film-making, which a student of the art can use to help shape his/her entry, or just watch to learn. The grand prize is enticing: a trip for two to Australia, another to NY for a private screening/meeting with Luhrmann and inclusion of the winning entry on the film's eventual DVD.
The Australia contest builds on a similar one that Metacafe and Universal offered for "The Bourne Ultimatum" last year, which I reviewed enthusiastically here. The concept also follows on previous posts I've done about the value of what I call "purpose-driven user generated video" or "YouTube 2.0" opportunities for users to create videos that have actual business value. I continue to believe that user-submitted videos which go beyond goofball entertainment are a huge area of broadband industry opportunity.
The Australia contest is a winner on multiple levels as it; creates pre-release buzz for the film, allows fans and aspiring artists to get involved and showcase their work, taps into a large base of original (and free!) ideas to help promote the movie, and introduces a fresh, updated approach to film marketing that is sorely needed for differentiation.
This week I've been talking a lot about engagement and why it's so critical in the broadband era. While media and entertainment companies must always focus on driving ratings points or a big opening day box office, the ways to do so are changing. The key change I see is that films, TV programs and other entertainment must become part of a larger experience - complete with multifaceted engagement opportunities - rather than just a one-off moment of audience consumption. Broadband enables this shift in a big way. More marketers need to take advantage of the possibilities.
What do you think? Post a comment now!
Welcome to October. Recapping another busy month, here are 3 key themes from September:
1. When established video providers use broadband, it must be to create new value
Broadband simultaneously threatens incumbent video businesses, while also opening up new opportunities. It's crucial that incumbents moving into broadband do so carefully and in ways that create distinct new value. However, in September I wrote several posts highlighting instances where broadband may either be hurting existing video franchises, or adding little new value.
Despite my admiration for Hulu, in these 2 posts, here and here, I questioned its current advertising implementations and asserted that these policies are hurting parent company NBC's on-air ad business. Worse yet, In "CNN is Undermining Its Own Advertisers with New AC360 Live Webcasts" I found an example where a network is using broadband to directly draw eyeballs away from its own on-air advertising. Lastly in "Palin Interview: ABC News Misses Many Broadband Opportunities" I described how the premier interview of the political season produced little more than an online VOD episode for ABC, leaving lots of new potential value untapped.
Meanwhile new entrants are innovating furiously, attempting to invade incumbents' turf. Earlier this week in "Presidential Debate Video on NYTimes.com is Classic Broadband Disruption," I explained how the Times's debate coverage positions it to steal prime audiences from the networks. And at the beginning of this month in "Taste of Home Forges New Model for Magazine Video," I outlined how a plucky UGC-oriented magazine is using new technology to elbow its way into space dominated by larger incumbents.
New entrants are using broadband to target incumbents' audiences; these companies need to bring A-game thinking to their broadband initiatives.
2. Purpose-driven user-generated video is YouTube 2.0
In September I further advanced a concept I've been developing for some time: that "purpose-driven" user-generated video can generate real business value. I think of these as YouTube 2.0 businesses. Exhibit A was a company called Unigo that's trying to disrupt the college guidebook industry through student-submitted video, photos and comments. While still early, I envision more purpose-driven UGV startups cropping up in the near future.
Meanwhile, brand marketers are also tapping the UGV phenomenon with ongoing contests. This trend marked a new milestone with Doritos new Super Bowl ad contest, which I explained in "Doritos Ups UGV Ante with $1 Million Price for Top-Rated 2009 Super Bowl Ad." There I also cataloged about 15 brand-sponsored UGV contests I've found in the last year. This is a growing trend and I expect much more to come.
3. Syndication is all around us
Just in case you weren't sick of hearing me talk about syndication, I'll make one more mention of it before September closes out. Syndication is the uber-trend of the broadband video market, and several announcements underscored its growing importance.
For example, in "Google Content Network Has Lots of Potential, Implications" I described how well-positioned Google is in syndication, as it ties AdSense to YouTube with its new Seth MacFarlane "Cavalcade of Cartoon Comedy" partnership. The month also marked the first syndication-driven merger, between Anystream and Voxant, a combination that threatens to upend the competitive dynamics in the broadband video platform space. Two other syndication milestones of note were AP's deal with thePlatform to power its 2,000+ private syndication network, and MTV's comprehensive deal with Visible Measure to track and analyze its 350+ sites' video efforts.
I know I'm a broken record on this, but regardless of what part of the market you're playing in, if you're not developing a syndication plan, you're going to be out of step in the very near future.
That's it for September, lots more planned in October. Stay tuned.
What do you think? Post a comment!