Eight indy teams who successfully wowed us at the Connected Studio event in January came to build prototypes and hone their ideas. We were housed in the Titanic Centre in Belfast, long hours sat on chairs rumoured to have been made for the ship itself.
SecondSync vient de proposer un livre blanc SocialTV sur comment la TV génère des conversations sur Facebook
Dans le cadre de Twitter, SecondSync estimait que :
60% des utilisateurs britanniques de Twitter tweetent en regardant la télévision,
40% du trafic Twitter au Royaume-Uni pendant les heures de grande écoute en soirée concerne les émissions de télévision,
90% des conversations en ligne qui concernent la télévision se passent sur Twitter.
Cette année, la société de Bristol vient de publier un livre blanc similaire mais en partenariat avec … Facebook.
Il s’agit de la première analyse sur les données de Facebook en matière de SocialTV sur plusieurs pays. On apprend principalement :
Contrairement aux idées reçues, la plupart des conversations TV sur Facebook se font pendant la diffusion du programme.
Environ 1/4 de l’audience TV publie un contenu sur le programme regardé sur Facebook.
80% des discussions sur Facebook relatives à la TV proviennent d’un appareil mobile.
Julie DeTraglia (Senior Vice President de NBCUniversal) rajoute que « mesurer les conversations sociales liées à la TV est devenu un composante essentielle de l’analyse des audiences [...] Avoir accès à ces données va nous permettre de mieux planifier notre stratégie digitale… ».
While TV is still the traditional carrier of media marketing, much of our experience now happens online, writes James Briscoe
Creatives must be aware of who their audience is, where consumers want to continue their experience and where the advertisers they serve will get the best exposure. For instance, Facebook's newsfeed has greater simultaneous media consumption than ITV, while a YouTube blogger might get more views than marketing campaigns in a speciality channel mix via Sky, video-on-demand (VoD), time shift or personal video recordings. Research suggests that 15 seconds of online video is more engaging than 30 seconds of TV. It also demands less risk and is easier for people to start information searching.
TV advertising and digital campaigns must work in tandem as one relies on the other to ensure deeper consumer engagement and a fuller experience of what a brand has to offer. Getting the marketing mix right in response to this is crucial; neglect one method and risk losing current and future customers.
Guardian Labs managing director Anna Watkins tells us how the Guardian's offering is a unique proposition for brands, and why content marketing is set to rocket in 2014.
Guardian Labs has officially launched - the Guardian's own branded content agency that specialises in telling brand stories. As anyone in the business will tell you, content marketing looks set to be a major media trend in 2014, and there are huge opportunities for those brands and media organisations who get it right.
It can be one of the most powerful and effective forms of communication, which is why over 70% of marketers are increasing their spend on branded content - taking the UK's content marketing spend from £4.3bn, to a predicted £5.8bn in 2014 (Curata). And it's easy to see why when you hear that content marketing drives brand awareness up by 85%, and customer interest uplifts of 62% (Curata).
Imagine that you just finished reading an article on a pasta recipe. How would you feel if you were given recommendations on what to read next and each of them featured another pasta recipe? In some cases (e.g, if you were not satisfied with the first recipe), this might do the trick; but, more often than not, you’d probably like to move on to another topic that really interests you.
Outbrain’s founder and CEO has pointed out that the world is brainwashed by relevancy. Digital content recommendations have often been presented as “related links” and have provided just that by relying primarily upon contextual relevancy. At Outbrain, we strive to find the most interesting content for each and every person through personalized recommendations that are interesting to that person but not necessarily related to what they were just reading.
Cookies can be used in connected TV browser environments in the same way they can on desktop, but it's a moot point when most video content is streamed through connected TV apps. YuMe, a video ad technology company, have been one of the companies working to deliver more highly targeted brand advertising on connected TV by developing cookie-free alternatives by fusing statistical data modelling and survey data. Here Jayant Kadambi, CEO at YuMe, and Ed Haslam, YuMe's SVP Marketing, explain how they have approached the problem to create audience segments that appeal to TV buyers. Filmed at YuMe Partner Day event in London forhttp://www.videoadnews.com
Mobile advertising is twice as effective as desktop among the general population and up to four times more effective when targeted towards affluent consumers, a global study from BBC World News has claimed.
If there's one thing we heard ad nauseam in 2013 (and 2012, 2011, 2010...), it was that "content is king." Frankly, this phrase has been said so many times that it has lost its meaning. What exactly does that mean?
Content will continue to be a key part in SEO moving into 2014. I don't think that will ever change. But your strategy has to adapt if you're going to keep up.
Here are five ways to make sure your content will sustain in the New Year and move you past your competitors.
1. Marketing Automation to Measure It2. Smarter, and Personal, Content in Emails3. Make It Available On the Move4. Separate Content From Link Building5. Small Tastings Mixed With Larger Portions
NYT Now, a new mobile app from the New York Times, will provide readers with a curated feed of stories with specially crafted blurbs of key points.
The need for a news product tailored to mobile readers — and not newspaper readers — became evident as the Times saw mobile traffic spike, particularly during periods of breaking news. Levy said as much as 65 percent of Times traffic came through mobile when big stories broke
This white paper presents the initial findings of a major study, using SecondSync’s social listening technology and social TV expertise to analyse total discussion levels on the Facebook platform in the US, UK and Australia.
This is the first in-depth analysis of Facebook’s social TV data across multiple territories, and the first time Facebook has released social TV analytics to the industry at this scale.
BuzzFeed is no scrappy little start-up anymore. It’s a big, profitable, influential news organization. The viral videos it publishes—generally without vetting—occasionally turn out to be hoaxes, the kind of mistake that delights old print curmudgeons eager to assert their ethical superiority. But as BuzzFeed continues to grow—four new employees checked in at the front desk in the 10 minutes I spent waiting there one morning—they’re not just adding brilliant headline writers and producers who get the gestalt of cat lovers. BuzzFeed has decided it’s no longer good enough to fix errors after publication, at least not on its most popular posts. They’ve decided it makes good journalism and business sense to assure readers that their posts are true, so BuzzFeed is embracing the ultimate symbol of the overstuffed print newsrooms of the pre-digital past. BuzzFeed is hiring copy editors.BuzzFeed, as much as any newsroom, is the antithesis of traditional. A neon sign celebrates the Hot List, BuzzFeed’s signature form. The receptionist hands new employees swag—a sweatshirt and a canvas bag decorated with a classic BuzzFeed headline: “84 Things That Aren’t on an Everything Bagel.” The conference rooms ringing the newsroom are named for viral cats: “Shironeko,” “Princess…
For nearly two decades, a culture war has divided journalists. The gap seemed mostly generational, but it always boiled down to a battle over the very purpose of what we do. All the dismissive sniping and straight-out antagonism between old-school defenders of the print craft and the young digital brains propelling start-ups came down to a debate over values: The old guard argued that they were driven by the quest for truth, and by their sense of what citizens need to know to be informed participants in democracy. Reporting was all about locking down the facts and presenting them to readers, who would know best how to take advantage of the light we shined. Digital journalists countered that their way was more honest and democratic—and quicker. If that meant presenting stories before they’d been thoroughly vetted, that was okay, because the internet would correct itself. Truth would emerge through open trial and error.
Netflix, the internet streaming service, can ask producers of original programming to find new actors if the suggested ones don't have a history of impressing the online audience. But Netflix's director of corporate communications Joris Evers insists that was never the case when it came to House of Cards. "People really love Kevin Spacey and Robin Wright so that was fine."
Beyond the main actors, Netflix ran the data on a number of factors: it looked at director David Fincher and the type of cinematography he generates (previous titles include Fight Club and The Social Network) and reaction to the original (British) House of Cards released in 1990, as well as analysing whether the online audience tend to enjoy political drama.
But Netflix doesn't consider this a problem. Instead, it wants to create "highly personalised genre roles so it will almost present to you a mirror reflection of who you are and what you'd like to watch."
People will only buy a subscription to Netflix (currently £5.99 a month) if they see value in doing so. This means the service needs to provide great content – and especially content that customers can't easily get elsewhere. And for the internet television network, original material is the key to their success. Not only will they entice more subscribers through great content but they want directors to increasingly consider releasing their shows and movies only on Netflix.
"It's all about differentiation and branding and becoming much more of a destination for exclusive content," says Evers. "We see that all television will move towards the internet and if we want to be an internet channel, we really need to have our own television shows and comedies and drama."
Content marketing is big business and predicted to get even bigger in the months and years ahead. While 'content farms' drove content development for some time, consumers are becoming more discerning and more demanding about the information they consume.
In 2014, says Athey, content will come from a wide range of sources, including:
Customer/user-generated content via mobile devices and social media
Analysis of big data and data visualization
Video capture via mobile devices and "low budget," or short form video
Capturing the ideas and experience of subject matter experts
Importantly, he notes, consumer quality expectations are high and biased against anything that screams promotion. "Content providers must help and not hype," he says. "The same rules of content marketing apply as they have for years-be informational or entertaining versus promotional."
The authenticity that consumers are demanding from content can often be provided directly from their peers-other consumers whose user-generated content is increasingly being looked to as a rich source of input.
As media measurement companies come together the marching orders are clear: the need for solutions that measure across silos will be of critical importance for media buyers and planners. This will allow for a more seamless integration of video measurement—on whatever device it’s viewed.
The future of advertising is hinged largely on precision-based planning tools that help marketers reach theright consumers, not simply the most people. Impact-based rather than reach-based advertising mechanisms will be a principle factor leading the convergence of TV and online.
Our marketer participants stressed that tomorrow, just as today, they are pressed to prove their ROI on each dollar they spend on advertising. Tools that allow them to reach the right customers—and then demonstrate purchases made or actions taken—some of which already exist, will win the day.
BBC World News and BBC.com/news have today released the results of a global study - the first of its kind - examining the usage of mobile devices by consumers around the world.
Key findings include:
51% of affluent consumers use their mobile phone for business, compared to 40% of the general population.
39% of affluent consumers access the internet via their mobile devices at least once an hour, which is 18% higher than the general population.
Affluent consumers are 18% more likely to share their location to get relevant services than the general population.
Affluent consumers are more likely to prefer mobile devices to desktop for news-related content than the general population. The contrast is particularly notable for current affairs or breaking news, where the figure is 15% higher for affluent consumers than the general population, and business/finance news, where it is 28% higher.
News apps are the most commonly used mobile phone apps for affluent consumers, whilst social network apps are favoured by the general population.
A third of affluent consumers agree that, if a brand wants to be modern and dynamic, it needs to be on mobile – 15% higher than the general population.
Mobile advertising is twice as effective as the already proven advertising medium desktop in driving key brand metrics such as awareness, favourability and purchase intent amongst the total population. This figure rises to four times as effective for affluent consumers.
High income earners are as positive towards advertising on mobile (19%) as desktop (18%). The percentage who are happy to see ads on mobile websites rises to 41% for sites where the content is free.
Disney has launched movie streaming service Disney Movies Anywhere just in time for the digital release of Frozen. Powered by iTunes, the multiplatform service -- which is available for the Web, iPad, iPhone and iPod touch -- lets people purchase and watch movies from Disney, Pixar and Marvel. The service has more than 400 titles and offers exclusive content and bonus features in addition to feature films. Customers can stream movies directly from the app or download them to view offline.
Powered by iTunes, the multiplatform service -- which is available for the Web, iPad, iPhone and iPod touch -- lets people purchase and watch movies from Disney, Pixar and Marvel. The service has more than 400 titles and offers exclusive content and bonus features in addition to feature films. Customers can stream movies directly from the app or download them to view offline.
The service is currently offering a free digital copy of The Incredibles to customers who connect their Disney Movies Anywhere and iTunes accounts.
“Disney Movies Anywhere offers an exceptional consumer experience built around some of the most beloved and popular entertainment brands in the world,” said Walt Disney Studios president Alan Bergman. “This unique technology underscores Disney’s commitment to meeting our consumers where they are with the content they want, and we’re thrilled to debut with iTunes, the No. 1 digital media retailer in the world.”
Disney DVDs and Blu-rays have come with redeemable digital download codes since 2008. Those codes will now be redeemable through Disney Movies Anywhere.
Disney previously operated digital film service Disney Movies Online. The studio shut down the little-used service in December 2012. Disney Movies Anywhere corrects many of the original service’s limitations, including allowing customers to stream the movies across multiple devices.