VideoNuze Posts

To date most cable networks have put a lot of promotional clips online and a few have even put some full length programs up as well. But for the most part cable networks have been constrained in how much original content they distribute online due to their lucrative monthly affiliate deals with cable/telco/satellite operators (though this too may change with Comcast and TWC pursuing online distribution plans).

I've noticed these webisodes announced just in the last couple of months:

• Freshman Year (CNN) - follows the day-to-day lives of 2 first-year congressmen
• In Men We Trust (WETV) - 4 single women learn the rules of the dating game
• Great and Telling Tales by Timothy Dickinson (History) - animated shorts explaining unexpected moments in history
• Off Track with Tony Stewart (Turner Sports/NASCAR) - behind the scenes with star racing driver
• Special Report with Bret Baier (Fox News) - webcast continuation of on-air news discussion
• Walt's Warning (AMC) - first-person video featuring "Breaking Bad" cast
• FoxBusiness.com Live (FBC) - one hour weekday financial show

(No doubt there are others as well, so apologies to those I may have missed)

The webisode format breaks the traditional limitation of having a finite 24 hours/day of "shelf space" for networks to program. I think what's happening here is that cable networks are experimenting with the low-cost webisode format both to reach online users and also to see what might graduate to on-air. The webisodes allow them to bridge their brands between traditional TV and broadband to see what sticks. And some webisodes may even making money for their networks already. "Off Track" for example is showcased in an Armor All "Owner Center" sponsored environment.

CNN's Freshman Year is a good example of how one network is pushing the envelope. In the series, CNN has given Flip video cameras to 2 new congressmen, who use them to show what life is really like on and off Capitol Hill (it's not glamorous that's for sure). The concept is a natural extension for CNN's politically-interested audience, and capitalizes on the tailwind of the '08 election cycle. While the production values are well below what's typically seen on-air, there's something compellingly authentic (and yes voyeuristic) about the wobbly, poorly framed footage offered up by the congressmen. For sure you come away with a far better sense of what these guys' lives are like than you would from a slickly-produced 1 hour special.

All of the 7-13 minute episodes have pre and post rolls, from brands like IBM and Sprint. I've noticed CNN starting to promote the series through on-air spots as well, which is a key webisode audience-building all the networks have. However, CNN really needs to make the series more visible on the web site. Aside from a periodic ad, a site visitor wouldn't know the series existed or how to find it. This is a common problem with the other networks' sites as well.

It's way too early to know how sticky the webisode concept will be for cable TV networks, but on the surface I think it offers a lot of opportunity. Cable networks are not immune from audience fragmentation and consumers' changing expectations. Finding ways to reinforce viewer loyalty and generate additional revenues is a must.

What do you think? Post a comment now.

As more and more companies begin to exploit the power of video for promotion or product support, many individuals who have never managed the process of actually creating a high-quality video are getting a taste for how hard it is. Market7 is a new company that streamlines the collaboration process essential to producing high-quality video. Market7 was born from the frustrations that founder/CEO Seth Kenvin experienced trying to create company and product videos while VP of Strategic Marketing at Big Band Networks. Last week Seth explained to me how Market7 works.

As with other marketing or promotional collateral, at high level, the video production process starts with getting all stakeholders on board with the project, its goals and budget. But once approved, there are myriad production steps such as writing and finalizing the script, shooting and then managing the assets, editing, gathering comments on rough cuts, editing some more, and of course trying to keep the project on schedule. Often these steps are managed by a 3rd party video producer, but they still involve a lot of client interaction. While there are individual products for each of these process steps, Seth believes Market7 is the first all-in-one solution.

Market7 allows the project lead to manage process, including setting up tasks, timelines/deliverables and team member responsibilities. Producers upload video assets and other team members are able to annotate the video with their comments, including on the video itself at specific points. That allows feedback to be highly targeted ("the background is too dark in this scene") and thus more actionable by editors. Market7 is not meant to be an online editor, but rather a collaboration environment that moves a project from script development through to final cut as efficiently as possible. The full product suite is available as Software-as-a-Service (SaaS), with pricing based on storage, admin accounts, support level and branding flexibility.

While Seth believes there are lots of different potential customers, he sees the sweet spot in corporate video production, with the videos used for online promotion, trade show support, on-site product demos or internal use. That said, there are a number of agencies using the product, along with an animation studio, infomercial producer and a couple of broadcast and cable TV networks. Market7 is a little bit like Wistia, another early stage company I wrote about recently that's also enhancing collaboration around video production. I'm very intrigued by these kinds of companies that are sprouting up around the video ecosystem. Neither one is likely to become a direct substitute for big budget video productions, but with so many new companies now trying to tap the power of online video, cost-effective yet robust tools like Market7's address real pain points in the market today.

What do you think? Post a comment now.

Three significant trends are behind today's launch of HD Cloud, a new video transcoding service being announced today: the proliferation of video file formats and encoding rates, the increase in syndication activity to multiple distributors and the cost and scale benefits of "cloud computing." HD Cloud founder and CEO Nicholas Butterworth (who I have known since he ran MTV's digital operations 10 years ago) walked me through the company's plan yesterday and how it benefits content providers looking to cost-effectively capitalize on broadband video's surging popularity.

Data that TiVo released last week indicating that nearly 60% of broadcast TV programs in the 8pm and 9pm primetime slots are timeshifted for later viewing should be interpreted as another positive for broadband video advertising for two reasons.

First, because the high propensity of DVR users to skip ads means that broadband delivery can be increasingly considered the only way for big brands' ads to be guaranteed to be seen. And second, because all that ad-skipping is making the effective cost of each TV ad more expensive, thereby making broadband-delivered ads look like a better value.

In prior posts (here and here) I've outlined how a top network show drives around $.50-$.75 of ad revenue per on-air viewer. Said another way, advertisers are willing to pay $.50-$.75 to reach that show's audience. But now factor in that nearly 60% of the targeted viewers are watching via DVR, and that of this group maybe only 10% watch any ads at all. That means maybe only half or so of the intended audience actually see the ads. With half the audience, an advertiser is effectively paying 2x the CPM it thought it was.

Advertisers understand this as well, and as we know from newspapers' current plight, expecting they'll pay more to reach shrinking audiences is not a sustainable strategy. So, on the assumption that smaller and smaller targetable audiences long-term reduces the demand for on-air network ad inventory, CPMs should decline as well. On a relative basis that means that for broadcast networks, broadband video ads, which can't be skipped, have better targeting and more interactivity (all of which already drives higher broadband CPMs), start looking better and better. In short, DVRs' surging popularity is very good news for broadband video ads.

But as I explained in the posts cited above, the problem for networks today is that higher CPM broadband ads still result in lower total revenue per program for broadband vs. on-air. That's because networks are inserting a far smaller number of ad in a broadband-delivered program vs. an on-air delivered program (my estimate is somewhere around 3 minutes for broadband vs. 20 minutes for on-air). Hence the broadcasters' challenge - get total broadband ad revenue up while DVR usage acts to drive on-air revenue down.

Doing so requires better strategy and better execution. On the strategy side, I've said it before (and it always pains me to say it again), but broadcast networks have to increase ad avails in their broadband-delivered programs. That probably means more ads per pod, but could also mean other types of non-intrusive units like banners. On the execution side, it means more attention to each stream to ensure well-targeted ads that are actually delivered.

With broadband revenue still accounting for a miniscule amount of total broadcast network revenue, it's tempting to deprioritize addressing these issues. I think that would be a mistake. TiVo's stats on DVR usage in primetime (combined with other shifting consumer behaviors) should be a major wake-up call for networks about how their business models need to change. Fortunately for them, broadband offers an even-higher value delivery option if it is exploited properly.

What do you think? Post a comment now.

Below is the 13th edition of the VideoNuze Report podcast, for April 10, 2009.

This week will discusses lessons that the broadcast TV networks might draw from the decline of U.S. newspapers, in order to avoid a similar fate. It is based on this post from Mon, April 6th. Meanwhile, Daisy speculates on the question of whether, with the explosion of iPhone apps, we're starting to witness iPhone app overload. Coincidentally, this week comScore reported that the top apps are games (no surprise there) and that major media companies are not experiencing much success with the apps they've launched.

Click here to listen to the podcast (13 minutes, 15 seconds)

Click here for previous podcasts

The VideoNuze Report is available in iTunes...subscribe today!

I'm pleased to be partnering with NAB to moderate 2 panels at the annual NAB Show in Las Vegas on Wednesday, April 22nd. Access is complimentary by clicking here, and entering code "X104"

The first panel, at 11:15 am is entitled, "How TV Broadcasters are Capitalizing on Broadband Video" with the following panelists:

• Bill Bradford - SVP, Chief Product Officer, Fox Digital Media Broadband Channels Group
• Colin Dixon - Practice Manager, Broadband Media, The Diffusion Group
• Suzanne Johnson - Senior Industry Marketing Manager, M&E, Akamai Technologies
• Clayton Thomson - VP, Video Strategy and Development, WorldNow

The second panel, at 3:30 pm, is on one my favorite topics, "How Syndication is Powering the Broadband Video Era," with the following panelists:

• Doug Knopper - Co-CEO and Co-Founder, FreeWheel
• Steven Kydd - EVP, Demand Studios, Demand Media
• Chase Norlin, CEO, Pixsy
• Steve Rosenbaum - Founder and CEO, Magnify.net
• Brian Steel - President and CEO, VoloMedia

I hope you're able to join us, as both panels are sure to provide lots of great information. The panels will be in the "Content Theater" adjacent to the "Content/Commerce Pavilion" where many industry companies will be exhibiting (e.g. Brightcove, Limelight, Electronic Arts, Akamai, Kyte, MGM, etc.) Exhibiting opportunities are still available, so send me an email if you're interested. Hope to see you there!

Access is complimentary by clicking here, and entering code "X104"

Babelgum, the ad-supported broadband/mobile video aggregator and platform has recently embarked on an expansion into the U.S. market. A discussion I had with Karol Martesko-Fenster, the producer of Babelgum's film channel about the company's recent deal for exclusive worldwide Internet and mobile distribution rights for the new documentary film "The Linguists" reveals how Babelgum is seeking to succeed in an already crowded market, and also provides an outline for how independent content creators can tap the broadband medium.

Karol explained that Babelgum is focusing on premium-only content that fits within its half dozen curated channels. Babelgum's focus is the "Internet Free on Demand" (IFOD) window and it always seeks worldwide distribution rights, since it targets a global audience. A window of exclusive distribution is also important. To find new films, Babelgum has an acquisitions team that scouts film festivals and also works closely with digital rights aggregators such as Cinetic Rights Management, Content Republic, CAA and others. In addition it often deals directly with the content creators.

That was the case with The Linguists, a new documentary film from Ironbound Films which Babelgum spotted at the 2008 Sundance Film Festival. Karol noted that the producers had been careful about retaining all of their rights. Babelgum secured a 4 month IFOD exclusive window for The Liguistics in exchange for an advance payment and a 50-50 split of ad/sponsorship revenue. Karol wouldn't specify the size of the advance, but said it's typically in the 4 to 6 figure range and is fully recouped before the splits kick in.

Karol believes Babelgum's willingness to pay advances is a key differentiator relative to competitors who he said are mainly focused on pure revenue-sharing deals. His experience is that for most creators who are even somewhat established, revenue-sharing alone won't be appealing.

Of course to make this model work on ad/sponsorship revenue alone requires Babelgum to be pretty careful about which films it acquires. Karol explained the variables that go into calculating the advance. Among other things, how exposed the film is, the length of exclusivity period and the ad sales team's projections. Then there's the traffic expectations. Babelgum pursues an aggressive online campaign including distributing excerpts to social media sites like Facebook and also distributing the film via an affiliate player to film festival sites and on mobile platforms (iPhone only today).

Karol acknowledges that there's some risk involved here, and that it's still very early days in figuring out the formula for how ad-supported only films will work online. However, Babelgum believes the IFOD window augments other distribution (theatrical, DVD, paid online, TV, etc.) and that the industry has recently begun to understand this. Babelgum's progress will be well worth following.

It's no secret that there's a huge amount of interest among independent content creators to exploit the emerging broadband medium. Karol's advice for independents is to get talks started with online distributors simultaneous with hitting the film festivals, clear all the worldwide rights, and be willing to carve up distribution rights into many different slices (with or without the help of digital rights aggregators).

What do you think? Post a comment now.

This week's announcement by YuMe and Mindshare to introduce an "iGRP" calculation for online video ad campaigns is another important building block in the online video industry's maturation process. Under the plan, YuMe and Mindshare will offer a reach and frequency metric for ad campaigns running across YuMe's network, which will correlate to GRPs that media planners use for TV ads. I spoke to YuMe's president and co-founder Jayant Kadambi about the iGRP plan yesterday.

Jayant explained that as the online video medium has grown, YuMe's sales team has begun interacting with more and more TV ad buyers, in addition to online ad buyers it customarily dealt with. While a lot of the spending for online video ads is still based on number of uniques and impressions, recently virtually all of the TV ad buyers YuMe deals with have been asking for a way to correlate and compare online video ad buys with TV buys. To address this need YuMe introduced the iGRP calculation a little while back and this week took the wraps off of it publicly. For those interested in understanding GRPs better, and the iGRP calculation, YuMe also released this useful white paper.

The white paper suggests that in addition to measuring reach and frequency, iGRPs can also capture an "interactivity factor" which would measure things like mouseovers, click-throughs and leads. YuMe and Mindshare plan to work with agencies and advertisers on various experiments testing the performance of different ad formats, durations, content types and targeting schemes.

I've believed for a while, as have others, that while there will be experimental ad dollars flowing into online video advertising, in order for the industry to truly scale, it is going to have to draw spending away from TV advertising. This is especially true in the down economy where advertisers are paring budgets, not increasing them. The $60 billion or so that's spent per year on TV ads is a rich pot of gold for online video to tap into. And given how reliant the online video industry is on advertising (vs. the paid model), the urgency to do so is quite high.

But actually making this happen is no easy feat. The TV ad industry is well-understood by all its participants, and despite its shortcomings and recent pressures such as surging DVR usage, many in the industry have little incentive to change. As a result, I believe online video ad executives must address and resolve all the friction points in shifting ad spending. Learning to speak in the same language - GRPs in this case - that traditional TV buyers have used in building media plans and doing post-campaign analysis is essential for the online video industry's growth.

YuMe's and Mindshare's GRP plan comes on the heels of Tremor Media's own GRP announcement with comScore from February. No doubt others will follow with their own approaches as well. This will make for a noisy period until the industry coalesces around standard ways of calculating GRPs and other metrics. Nonetheless, this awkward adolescence should be viewed as an expected part of the maturation process for an industry seeking to convert an already massive, and still rapidly growing amount of monthly eyeballs into meaningful ad revenues.

What do you think? Post a comment now.