Connecting Media/Football, Audience/Fan and Advertising/Brands with Data. How media companies can benefit from Big, Open, Linked, Small Data to value their assets, improve their audience satisfaction and better monetize their inventories. BigFoot & BigMedia events in prepa (Bcn / Paris)
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Web, mobile, réseaux sociaux, magasins, ou encore objets connectés : le volume de données explose. Comment trier cet 'or noir' et engager les consommateurs dans une logique multicanale, mais, aussi, séparer le bon grain de l'ivraie dans la mode du CRM et du big data ?
En cumulant toutes ses audiences télévisées, radio et web, la BBC atteint 308 millions de fidèles à travers le monde.
En comptant les audiences réalisées par ses antennes radio et télévisées, mais aussi par le biais de son site internet, de ses réseaux sociaux et de ses chaînes YouTube, la BBC a réuni 308 millions de personnes sur l'année écoulée à la fin mars, selon une information du Guardian. Un résultat exceptionnel dû à une augmentation de 7% sur un an. Soit 18 millions de personnes en plus en 12 mois.
Pour Fran Unsworth, directeur du BBC World Service cité par The Guardian, ce succès s'explique par le fait qu'"en temps de crise ou d'absence de liberté des médias, les gens se tournent vers la BBC pour obtenir de l'information de confiance." La radio, d'ordinaire jugée média le plus fiable, se retrouve pour la première fois distancée par la chaîne télévisée de la BBC. 15 millions les séparent, l'une faisant 148 millions de téléspectateurs contre 133 millions d'auditeurs pour l'autre. Le site BBVC News touche quant à lui 55 millions d'internautes.
Tony Hall, le directeur général de la BBC, ne compte pas s'arrêter en si bon chemin. L'ancien journaliste vise un objectif d'audience à 500 millions pour 2022. Soit un gain de 30 millions de fidèles chaque année.
Etes-vous «ninja», «pragmatist» ou «ambidextrous» ? Dans son rapport «Attention in the Digital Age», à destination du marché publicitaire, Microsoft Advertising a étudié les capacités d’attention des consommateurs à l’ère du digital et a identifié ces 3 profils. Les «ninja» compartimentent leurs activités afin de rester très attentifs : chaque device est utilisé pour une activité bien précise, et travail et loisirs sont totalement dissociés. Les «pragmatist» sont capables de pratiquer plusieurs activités simultanément et d’établir des priorités. Quant aux «ambidextrous», ils passent d’un device à un autre sans effort et multiplient les sources d’information pour maximiser leur productivité.
It has been a while since we've had a business update on the progress of Hulu. CEO announcements this week show it’s full-steam-ahead on all fronts.
Subscribers and revenue
Mike Hopkins, Hulu CEO, revealed the company is closing in on 9M subscribers, a 50% increase in one year and 80% increase since December 2013. Hulu’s cost has remained unchanged at $7.99 since the company added the subscription option over 3 years ago. It is now generating $72M a month, $860M a year, in license revenue.
Mr. Hopkins did not reveal how advertising sales were going, but in 2014 nScreenMedia estimated Hulu was generating around 59% of its revenue from ad sales. If the company is still tracking to the same ratio, ad revenue could be close to $2B a year and total revenue not far from $3B.
By comparison, Netflix needed 6 times as many subscribers to generated $5.5B during 2014, illustrating the strength of Hulu’s dual revenue model.
Hulu is adding a new advertising format which it calls custom integrated commercials. The format will combine Hulu and advertiser branding to convey a shared brand story that resonates with Hulu viewers. The company will also be adding programmatic ad buying of the next few years. This will combine Hulu and ad brand data to more effectively target viewers. No word on why this process will take “several years.”
New advertising tools—and these examples barely scratch the surface—provide aggressive ways to meet the expectations that were identified in the research of HUB and other analysts. Developers hope that today’s business deals and continuing experiments will manifest themselves into features that can be delivered via the ATSC 3.0 platform now in development.
Most significantly, the integration of new research and measurement tools with realtime ad buying will lead to more efficient broadcast commercial targeting. The planning also takes into account the need to stay on the “safe side” of consumer privacy concerns.
At the Mobile World Congress last month, where the focus was on wireless systems, many of the lessons about digital advertising could be extended to the new vision of broadcasting commercial operations. Speakers described solutions such as “deterministic” and “probabilistic” modeling to handle multiscreen campaign management.
Proponents of programmatic advertising insist that the advanced systems will catch on quickly after the current testing period. Jeff Green, founder and CEO of The Trade Desk, a real-time ad bidding platform, contends that, “consumers are clamoring for on-demand, addressable content.”
“More relevant ads are worth more to advertisers,” Green said in AdWeek recently. “Consumers welcome them, too.”
Now owned by Australia’s giant telco Telstra, with a “war chest” for acquisitions, video services company Ooyala has moved into the adtech sector with its acquisition of Videoplaza last year, explains Andrew Spaulding, Director of Sales Engineering at Ooyala in this interview with Beet.TV
“I think the age of the 200 channel universe is slowly dying,” Moonves said today. “The good news for us, is any one of those groups will need CBS.” For what it’s worth, Sony’s internet TV service, PlayStation Vue, does offer CBS, along with NBC and Fox. Dish Network’s Sling TV, however, does not include CBS, nor any of the other broadcast channels. According to the Wall Street Journal, Apple’s service would include CBS, ABC, and Fox (but conspicuously not NBC, due to a hang-up between Apple and Comcast, which owns NBC). It would also critically include ESPN, which Sling TV also offers but PlayStation Vue does not. As important as CBS may be to an internet bundle, ESPN is likely even more important. Live sports are the primary reason many Americans refuse to abandon traditional television in favor of the internet. But whatever channels Apple ends up offering, it appears as though its internet TV service is very real and very near. And it’s not everyday that a TV executive, only tangentially involved in the actual product, is the one to confirm its plans. It’s one thing for Dish and Sony to begin forming cracks in the pay TV bundle, but should Apple enter that space, the bundle could break entirely.
How well should a primetime, scripted drama in Spanish do on social? Now we know.
According to a study by Nielsen published this week, programmers can predict how well a a show will do on social media. They looked at over 450 English and Spanish television shows, the size and demographic of the audience, the type of program, and whether it was broadcast or premium. They created a model to calculate the average number of tweets based on those characteristics and found that it was pretty easy to anticipate how well a program will perform.
A partir du 26 mai, tout le replay des chaînes gratuites du groupe TF1 sera accessible via MyTF1. Les contenus de rattrapage des chaînes TF1, TMC, NT1 et HD1 seront désormais hébergés sur une nouvelle interface, que ce soit sur les box IPTV, les ordinateurs ou les supports mobiles. L’expérience utilisateur a été rénovée avec des accès en responsive design, la reprise de la lecture d’un device à l’autre, le «mini player» qui permet de rechercher un contenu tout en en suivant un autre ainsi que des recommandations de contenus. Pour la première fois, un visuel publicitaire display s’affiche en home page de MyTF1 sur les box. Le format permet également de lancer une vidéo. Il en coûtera à l’annonceur 20k€ net par semaine pour environ 1M de VU par jour selon TF1 Publicité.
CEO Richard Plepler, programming head Michael Lombardo, and Sunday-night star John Oliver share insights on the network's digital revolution.
Lombardo is talking about the way HBO has historically viewed the writers and creators who pitch their TV shows every day to the company, eager for a coveted time slot on a premium cable network that has been defining watercooler conversation—and the culture at large—for two decades with iconic series likeThe Wire and The Sopranos.
With HBO Now, HBO can experiment with new types of programming outside of its existing 30- and 60-minute format, as there is no daily schedule that content has to fit into. Shows—or films, or any type of content—will simply be arrayed for viewers to click on; there is no lineup. HBO Now also affords HBO a less risky platform where not every show requires a series commitment. If something's not working, the network can just take it down.
To become a "destination" and keep mobile viewers hooked, YouTube realized it had to fix itself, from its development platform to its AI.
HOW YOUTUBE HAS REAPED THE BENEFITS
All of the things that InnerTube has enabled—faster iteration, improved user testing, mobile user analytics, smarter recommendations, and more robust search—have paid off in a big way. As of early 2015, YouTube was finally becoming a destination: On mobile, 80% of YouTube sessions currently originate from within YouTube itself. Even on the desktop, where users have been sprinkling YouTube embeds for more than a decade, 55% of views are happening on YouTube.com. By early 2015, YouTube says it's seeing 50% year-over-year growth in total viewership. And a majority of those views now originate from within YouTube's own apps or website.
As eager as the engineering team is to flex their muscles, technology isn't the only factor at play here. YouTube has been investing millions in original content for years and even if the service has yet to see Netflix-sized success on that front, it's clearly driving at least some of the new traffic to YouTube. The company has also been spending big ad dollars offline. Anyone who's taken the New York City subway in the last year has seen the display ads for YouTube's official partner channels—brands like Vice News and "Famous Rap Battles Of History"—plastered everywhere. Or perhaps you've seen the billboards in other markets. Or the TV commercial during the World Cup. And in an effort to grow revenue and compete with subscription-based services, YouTube indicated last month it would be launching an ad-free subscription service at some point this year.
Still, however impactful these huge, non-technology-related investments may be, they'd only go so far if the user experience itself wasn't as polished—and easily adapted—as possible. Now that more than half of YouTube's rising view counts are happening within the company's own properties, the site is better positioned to entice people further down those late-night video rabbit holes. Or grab their attention with a new web series they didn't even know about but that algorithms figure they'd dig.
That isn't to say that it's all smooth sailing from here. Have you ever heard people at work chat about a YouTube channel the way they obsess over The Jinx, Game of Thrones, or House of Cards? Better code under the hood won't change that overnight, but it could help YouTube figure out sooner how to get there.
Attendu. Médiamétrie a annoncé lundi le lancement en juin prochain, avec Integral Ad Science, de son service permettant de calculer un nouvel indicateur de performance publicitaire bi-médias TV + Internet : le presque célèbre « GRP Vidéo ». Véritable « GRP multi-écrans » comme le qualifiait Bertrand Krug, directeur adjoint de Médiamétrie//NetRatings, dans les colonnes de La Matinale de CB News en octobre 2014, cet indicateur sur lequel Médiamétrie travaille depuis 2012 a ainsi été approuvé par le marché avec la définition du contact Vidéo sur Internet « basée sur la durée de visionnage et la part de surface exposée », souligne Médiamétrie. « Ainsi défini, le contact vidéo sur Internet est homogène, et donc comparable, au taux moyen utilisé pour mesurer l’audience de la télévision ». Avec Integral Ad Science, Médiamétrie fournira aux annonceurs, éditeurs, régies publicitaires et agences, un indicateur « fiable » permettant d’optimiser leurs plans médias vidéos TV + Internet. Le GRP Vidéo sera disponible en option de la mesure d’efficacité des campagnes publicitaires on-line « nOCR » (Nielsen Online Campaign Ratings), un service proposé par Mediametrie//NetRatings sur près de 200 cibles. Integral Ad Science proposera en outre cet indicateur dans son interface, sans distinction de cible.
The data on broadcast radio on podcasting, from the 2015 State of the Media report
More than half of Americans ages 12 and older have listened to online radio in the past month, according to 2015 survey data from Edison Research – a clear indication that online listening continues to move rapidly into the consumer mainstream. And more of that listening is now being done through mobile devices than through desktops. Traditional AM/FM radio, meanwhile, continues to reach the overwhelming majority of the American public – 91% of Americans ages 12 and older had listened in the week before they were surveyed in 2014, according to a Pew Research Center analysis of Nielsen Media Research data, essentially unchanged from 2013. And Sirius XM – the only satellite radio platform in the U.S. – reported a boost in subscriber numbers of almost 7% from 2013.
On the financial side, AM/FM’s revenue from “spot” advertising (ads aired during radio broadcasts, its main revenue source) declined slightly in 2014 while revenue from digital and off-air advertising both posted strong gains. Sirius XM saw an increase in revenue of 10%, up from $3.8 billion in 2013 to $4.2 billion in 2014.
According to Nielsen, the number of all-news radio stations declined slightly in 2014, to 31. News/talk/information remains one of the most popular broadcast formats for American radio listeners, second only to the category of country and new country – but the number of stations has fluctuated over the past few years.
TV, both traditional linear television and streaming services like Netflix and HBO Now, are moving to an on-demand world, Time Warner C.E.O. Jeff Bewkes told analysts this morning on the company's earnings call. "All TV will be going on-demand," Bewkes said.
The job of the TV executive, therefore, is to try to find a way forward in this new media environment, one that is poised to become splintered between traditional cable and satellite packages, niche streaming services, and streaming bundles like Sling TV.
Pour conserver son avance, Red Bull Media House mise sur la technologie et l'alliance de la data et de la créativité. "Sur ma carte de visite, il y a toujours marqué CTO, pour Chief Technology Officer. Mais mon métier a totalement changé en quelques années : désormais, vous pouvez tout faire dans le cloud. Mon travail est surtout de traduire la technologie au service du marketing : j'ai un rôle d'évangéliste." La vie d'Andi Gall se partage entre les trois bureaux de Red Bull Media House, à Salzbourg, Londres et Santa Monica. Son quotidien consiste à introduire des capteurs dans les palets de hockey, équiper des aigles de caméras pour un film avec Jean Reno ou imaginer de nouvelles façons de filmer les sports extrêmes... De quoi en faire rêver plus d'un !
Piksel, a company that manages OTT solutions for several of the world’s leading media brands, is in the early stages of a personalization engine to deliver relevant videos to individual consumers, explains Miles Weaver, Innovation Lead, in this interview with Beet.TV
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