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Archive for the ‘Television’ Category

JANUARY 26, 2016

Details on the Viceland roll out north of the U.S. border emerged Friday, with Canadian telco Rogers Media and Vice revealing the launch date, carriers and preview strategy for the new, youth-facing channel.

The companies have inked agreements with 25 BDUs across Canada to carry the 24-hour  channel, which launches on Feb. 29. It will be offered with a three-month free preview to each company’s current subscribers.

The list includes Rogers Cable, Access Communications, Bruce Telecom, Cable Cable Inc., CityWest, Cogeco Connexion, Eastlink, Execulink Telecom, Hay Communications, Mitchell-Seaforth Cable TV, Northwestel, Novus, Riondel Cable Society, SaskTel, Shaw, Shaw Direct, Sogetel, Tbaytel, Telus Optik TV, Videotron, Westman Communications Group, Wightman Telecom, WTC Communications and YourLink Cable BC.

The combined total of these channel carriers will give Viceland a reach of 7.5 million households in Canada, according to Rogers Media.

Among the Canadian titles to be produced out of Vice’s Toronto-based studio are documentary series Cyberwar and Terror (with Vice co-founder Suroosh Alvi, pictured). In all, the channel will carry nine Rogers-commissioned series, along with original content developed and produced in-house by Vice staff. Director Spike Jonze, creative director with Vice, has been overseeing the development of the new channel, from show creation to production.

Vice announced in November 2015 that Viceland would be taking over Rogers Media’s bio channel licence. A month later, the edgy digital brand onboarded David Purdy, a former senior Rogers executive, to lead its push into international linear and digital markets.

Vice has been busy prepping for expansion, which includes a major push into Europe. Company CEO Shane Smith confirmed in October Vice is in talks with several linear and digital brands to launch European channels over the next year. In November,  the company announced Viceland will air in the U.S. market in early 2016  following a deal with A+E Networks.Story courtesy of Jordan Pinto at Playback, with files from Darah Hansen, StreamDaily

Source: Viceland to launch across 25 carriers in Canada » StreamDaily

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Fullscreen is definitely on a roll.  A glimpse into a piece of the future of advertising talent acquisition and TV production.

Fullscreen, GroupM Ink Deal to Form Influencer Marketing ProgramAgency’s Clients Get Access to Fullscreen’s Technology, Dedicated TeamBy Tim Peterson. Published on January 05, 2016.

Source: Fullscreen, GroupM Form Influencer Marketing Program, Playa | Digital – Advertising Age

For more brands to put money toward video deals with digital celebrities, or influencers, it needs to become easier for the brands to pick out which influencers to work with. “It’s much harder for brand owners to keep up with the velocity of celebrity and influence than it was before,” said Rob Norman, global chief digital officer at WPP’s media-buying arm GroupM. That’s a problem for companies that operate networks of influencers, but it can also be a selling point, one that digital video network Fullscreen has parlayed into a multiyear deal with GroupM.

Fullscreen and GroupM have created an influencer marketing program called Playa that will coordinate exclusive deals between the agency’s clients and Fullscreen’s global roster of more than 75,000 digital celebrities.

An agency signing a deal with a company that operates a network of digital celebrities, or influencers, isn’t necessarily newsworthy. GroupM already works with Twitter’s influencer marketing firm Niche, andOmnicom signed an eight-figure deal with Disney’s Maker Studios in 2014. And the fact that GroupM’s parent company WPP is an investor in Fullscreen makes the deal less of a surprise. But what really helped the deal come together, according to Mr. Norman, is that GroupM gains access to Fullscreen’s tool that helps brands identify and assess the company’s influencers and their audiences as well as Fullscreen employees that have experience in mediating deals between brands and influencers.

For advertisers, dealing with digital celebrities isn’t the same as traditional stars. For starters, digital celebrities have a higher bar for which brands they’re willing to promote, recognizing that their own reputations are at stake when they back a brand. And large as digital celebrities’ fan bases can be, they can also be pretty niche. A digital star may have millions of subscribers on YouTube and thousands of fans mobbing her at an event like VidCon, the annual Comic-Con-like confab of digital video stars and their fans, then walk into a Starbucks a few blocks away and go unnoticed.

“This really started at VidCon for me,” Mr. Norman said. “Obviously I knew what the scale of the YouTube ecosystem was. But what I didn’t really know was how mandolin-sliced that celebrity has become.”

That niche-at-scale dynamic can make it hard for brands to pick out which digital celebrities they want to work with, especially as more of these so-called influencers crop up across YouTube, Instagram, Vine, Snapchat and elsewhere. But Fullscreen has built tools that catalog these creators and measure the paid and organic reach of the creators’ own videos and the ones they made for brands, with WPP’s Millward Brown and Tubular Labs on board for third-party measurement verification. Now it is opening up those tools to GroupM “so that they on their buying desks can actually look at people and creators in the same way they would look at other media channels,” said Fullscreen CEO George Strompolos.

“It’s systematizing what was previously unsystematizable,” Mr. Norman said. He added, “What they’ve got is an influencer management system that allows you to identify who’s trending up and who’s trending down, what their interests are, what their audiences look like, what the intersection of their channel viewers are with other channel viewers and also about the kinds of work they do with brands.”

Digital video analytics companies like Outrigger Media and ZEFR offer similar tools that examine digital celebrities’ audiences for advertisers and present that information in a dashboard. But thanks to its network of influencers, Fullscreen is able to take things a step further by connecting advertisers with those celebrities and helping to put together the deals.

In the case of Fullscreen’s deal with GroupM, Fullscreen will be setting up a dedicated team of employees that specialize in influencer marketing campaigns to work exclusively with GroupM’s clients. Those employees will spend their time “managing everything from the creative ideation to the contracts to dealing with the personalities involved — whether those are agents, managers, lawyers, parents — to the nuances of maybe a certain creator recently worked with a competitive advertiser or maybe a brand has shown a tendency to reject ad integrations and also respecting and honoring the creative vision that the talent has,” Mr. Strompolos said.

Those employees will be headquartered in New York and also located in London and Los Angeles. They will work primarily out of Fullscreen’s offices but also spend time at GroupM’s digs. That shared-space strategy will be especially easy in Los Angeles where Fullscreen and GroupM have offices in the same building in Playa Vista, the emerging epicenter of the L.A. tech-and-media scene that also inspired the Playa program’s name. In addition to the team of specialists, Fullscreen will offer up its in-house production team to work with the influencers and GroupM’s clients.

The deal may sound as simple as GroupM gets to pick stars from Fullscreen’s stable to appear in one-off videos, but it can go the other way as well. Mr. Strompolos said GroupM’s clients will get first dibs on sponsorship opportunities in one-off videos and original shows that Fullscreen’s creators initially come up with that could include one or more brands.

As part of the deal, GroupM’s clients will receive some exclusive deals on campaign pricing, Mr. Strompolos said, declining to get into specifics about the deal’s financial terms. Mr. Norman said there is “no hard commitment” in how much money from GroupM’s clients that the media-buying group needs to funnel Fullscreen’s way. But if GroupM isn’t able to spark enough deals between its clients and Fullscreen, then some exclusive aspects of the deal will be made available to other agencies and advertisers.

And that’s the looming question: whether Fullscreen’s expertise and the ease of its technology will be able to entice GroupM’s clients, who may be more comfortable spending their money on traditional channels, to see Fullscreen’s creators as the next generation of those channels. Mr. Norman said clients want to do more of these influencer deals, but “if I was Walt DisneyCorporation or NBC, I wouldn’t be quaking in my boots.” At least not yet.

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It’s Not a Video Revolution — It’s a TV Evolution

The Advertising Business Needs to Change Its Definition of TV

By Sean Cunningham. Published on April 24, 2015. 0 Reprints Reprints

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The more ways in which people can engage with TV content, the more time and attention they pay to it. Networks have kept pace with technological changes, extending programming across digital formats to let viewers watch wherever, however and whenever they want. And, increasingly, they’re choosing to do that on smartphones and tablets. All the stats on time-shifting and streaming point to a significant consumption surge.

Throughout the advertising community, though, people are mistaking the device athleticism and increased streaming for a revolution. Even the lead story in AdAge earlier last week, “Welcome to the Video Revolution,” made this leap. While the piece sets forth overall numbers showing the primacy of TV attention — 149 hours a month across five screens (TV, desktop, laptop, tablet, smartphone) — and mentions that TV “may be growing [its] viewership on desktop computers and mobile devices,” it still calls a six-hour monthly decline in conventional TV viewing evidence of a revolution.

via It’s Not a Video Revolution — It’s a TV Evolution | DigitalNext – Advertising Age.

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Streaming content…is this the future of Pay TV?

CREDIT ILLUSTRATION BY CHRISTOPH NIEMANN

iPhoto Library

Adam Sandler, whatever his virtues, hardly seems like the kind of guy who might hold the fate of Hollywood in his hands. But when, recently, Netflix announced that it had signed a deal for Sandler to make four movies for its streaming service, and said that it would also be financing and streaming a sequel to “Crouching Tiger, Hidden Dragon,” journalists foretold an apocalypse for traditional moviegoing. The Sandler deal endangered “the underpinnings of the movie business.” It promised to “doom theaters” and “destroy the box office.” Who knew “You Don’t Mess with the Zohan” mattered so much?

Netflix has always provoked hyperbole, with boosters saying that it will change everything and skeptics prophesying its imminent downfall. It has gone from Wall Street darling to Wall Street disaster and back again. Twice, the stock price has fallen more than sixty per cent in a matter of months—in 2011 and 2012—but, since the start of 2013, it has risen more than three hundred per cent. At the moment, Netflix can do no wrong. Practically everything the company does is being treated as radical and, of course, “hugely disruptive.”
The hype is misleading. True, in its seventeen-year history Netflix has created two markets practically from scratch—online DVD rental, then video streaming. In the process, it has reinvented itself three times: it began as a traditional pay-per-rental company, turned itself into a subscription rental service, went into streaming, and then moved into original content. Yet, in the past couple of years, Netflix has actually become a rather familiar kind of business. Jeffrey Ulin, the former head of distribution at Lucasfilm and the author of “The Business of Media Distribution,” told me, “If you really look at Netflix, it’s a pay-TV company.” He went on, “People still think of Netflix as a video store, because that’s their history. But the way a pay-TV service works is that people subscribe and pay a monthly fee for a service that aggregates content and offers original content of its own. That’s exactly what Netflix does.”…more

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DIGITAL & MEDIA PREDICTIONS 2014 Millward Brown experts from around the globe predict the hottest multi-screen marketing trends for 2014, and provide recommendations to help advertisers change channels with confidence.Click here to begin

via Digital Predictions 2014.

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Are specialty TV networks beyond salvation?By Dennis Perkins Sep 27, 2013 • 12AMI think it was getting caught up in the Sharknado that finally did it.Everyone had fun hashtagging the hell out of the Syfy original movie concerning a tornado-full of sharks, if you haven’t seen it on Twitter, myself included. I posit that the title Tornsharko sounds scarier, but that’s me. Essentially, that’s what Syfy original movies, with their intentionally dopey, punning titles are there for—to provide reasonably priced programming that viewers will make fun of and, theoretically, tune in for. As Caroline Framke’s fun, perceptive review pointed out, there’s nothing wrong with such deliberately self-mocking genre fare, essentially fodder for viewers to play Mystery Science Theater 3000 via the Internet. And if the viewership didn’t live up to the online hype, well, at least the experience gave comedians a chance to hone their craft and D-list celebrities a paycheck. No harm, no foul.

via Are specialty TV networks beyond salvation? · The A.V. Club.

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Some great stats, facts and predictions in this deck on Business Insider

.

THE FUTURE OF DIGITAL: 2013 [SLIDE DECK]

HENRY BLODGET AND TONY DANOVA NOV. 12, 2013, 10:35 AM 2,312,180 17  Daniel Goodman / Business Insider

We’re at Business Insider’s Ignition event to hear from business leaders and notable folks in the tech space, hearing their thoughts on where the future of digital business is heading.

To kick off today’s events, Business Insider CEO Henry Blodget delivered the following presentation put together with the help of the BI Intelligence team.

BI Intelligence is a new research and analysis service focused on mobile computing and the Internet. Subscribers can download the individual charts and datasets in Excel, along with the PowerPoint and PDF versions of this deck. Please sign up for a free trial here.

Click here to see the future of digital »

via THE FUTURE OF DIGITAL: 2013 – Business Insider.

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