Webisodes, which have long been hyped as a new form of online entertainment (but rarely lived up to it), are expanding beyond Internet television and proving to be a valuable accompaniment to feature-length documentary films.
It’s become common practice for a show to casually toss a hashtag in the corner of the TV screen, but the tricky part is figuring out what comes next. The Voice and NBC have involved Twitter so heavily in the viewing experience that the end result is a fully integrated, interested, and engaged audience for advertisers and brands to reach.
New forms of media are often disruptive to existing forms, but Twitter CEO Dick Costolo says that his network is complementary to traditional forms like television, because it adds the kind of real-time discussion we associate with the town square...
Mike Proulx, the guy who wrote the book on social tv -- explains what's changed lately in a conversation with Simon Dumenco.
In February of last year, Mike Proulx and his co-author Stacey Shepatin published the book "Social TV: How Marketers Can Reach and Engage Audiences by Connecting Television to the Web, Social Media, and Mobile." As senior VP and director of digital strategy at Hill Holliday, Mr. Proulx knows what he's talking about -- and, in just a few weeks, he and a few hundred other social-TV obsessives will talk even more about where the industry is headed. The third edition of Hill Holliday's annual TVnext Summit, an event Mr. Proulx created, is coming up on April 29 in Boston.
As the event approaches, Ad Age's Media Guy Simon Dumenco spoke with Mr. Proulx as part of the ongoing Dumenco's Media Peopleseries of in-depth interviews. What follows is an edited version of a longer conversation.
Simon Dumenco: Talk to me about what's changed in the social-TV space since the publication of your book -- other than everything.
Mike Proulx: The biggest change we predicted was that consolidation was going to be the theme for 2013, and that certainly has come true. In Chapter 5 in the book, we talked a lot about the social-TV analytic space, and since the release of the book Nielsen bought SocialGuide, and Twitter bought Bluefin Labs, so that leaves an interesting landscape where you have Trendrr as really the only independent social-TV analytics company now.
Dumenco: I have to say that I was surprised how quickly Bluefin sort of disappeared into Twitter's maw. After the acquisition, Bluefin employees almost immediately got Twitter email addresses and now they're essentially just part of the marketing department of Twitter -- because the ex-Bluefinners' jobs now involve proving the efficacy of Twitter, basically.
Tweet Alongside my day job for the past couple of years and various labs and seminars I have been involved in, one thing that keeps coming up is 'why is the process for making multiplatform so complicated / varied / mysterious / technical'.
More and more people are watching live-entertainment television shows while simultaneously interacting with the content on mobile devices. But could 'second-screen' viewing also work for documentaries?
Second screen viewing, which refers to using an additional electronic device while watching television, is a widespread consumer behavior that has quickly become the norm.
In an attempt to better understand this trend, Viaccess-Orca has analyzed second screen usage amongst diverse populations of television viewers. The results, which appear in this infographic, demonstrate the extent to which second screen viewing is altering the TV industry. According to our data, 70% of tablet owners, and 68% of smartphone owners, state that they use their additional devices while watching TV.
However, only 37% of those who practice second screen viewing do so in order to look up information that is related to the program they are watching. Most TV viewers use their devices in order to check emails or visit a social network...