Big Media (En & Fr)
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Semantic Video: Can TV Catch Up to the Web? -

Semantic Video: Can TV Catch Up to the Web? - | Big Media (En & Fr) |

As users experience such shifts in usability in web and mobile applications, the question that television programmers should be asking themselves is whether television is keeping up with the new expectations that users are likely to have as a result?”

He continues, “One of the essential enabling technologies for these new experiences is graph-based search and discovery. Such a graph (aka ‘knowledge graph’) is a semantic database of named entities, where the relationships between entities are dynamically mapped for predictive and intelligent results for search and discovery. As the TV viewing experience becomes increasingly complex with thousands of VoD titles, hundreds of linear TV channels and millions of online video titles, traditional lexical metadata and structured menu-driven search and navigation prove difficult and cumbersome. A knowledge graph-based semantic approach creates intuitive discovery and access for large amounts of programming, providing user experiences pari passu with the new usability on web and mobile.”

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Big Media (En & Fr)
Connecting Media, Audience and Advertsing with Data. How media companies can benefit from Big Data, Open Data , Linked Data, Small Data to value their assets, improve their audience satisfaction and better monetize their inventories
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First BIG MEDIA event Connecting Media, Audience and Advertising with data in Madrid this June

First BIG MEDIA event Connecting Media, Audience and Advertising with data in Madrid this June | Big Media (En & Fr) |

Connecting Media, Audience and Advertising with Data

24 June 2014 – UAM Madrid

150 professionals / 30 speakers

keynotes / round tables / user cases / networking


Digitalization has positioned data in the center of the audiovisual media ecosystem.

A better control of content combined with a better understanding of the audience already enables to back up editorial decisions. It opens opportunities to offer more relevant content and more personalized experiences adapted to multi-device and contextual environment.

For publishers, how to efficiently leverage data has turned into a strategic question and became a new key to power its editorial, marketing and sales activities.

Good use of data enables to structure catalogues, reinforce the value of its assets, better know its audience and monetize its inventories thanks to new tools. When it is well controlled it can lead to find new audiences and open ways to diversification.


How Big, Small, Open and Linked Data can transform media contents into structured, rich and actionable knowledge?

How data help to connect audience with relevant content and drive the entertainment experience?

How business intelligence and real time analytic open doors for advanced advertizing solutions and new business opportunities for content owners and mediabrands?


On the 24th of June in Madrid, 150 professionals with 30 experts will explore those questions via practical cases, inspiring keynotes and debates.

In parallel, workshops will allow to better understand the practical operations of professional solutions critical for the success of Big Media.

More info :

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Guardian forms new editorial teams to enhance digital output

Guardian forms new editorial teams to enhance digital output | Big Media (En & Fr) |
Visual journalism, data journalism and audience development teams are all being restructured under plans from new executive editor for digital Aron Pilhofer
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Keynote: Ted Sarandos, Netflix - MIPCOM 2014 [video]

Watch all the MIPCOM & MIPJunior 2014 conference videos here: 

Ted Sarandos takes the MIPCOM stage for a keynote interview, to be conducted by Eric Scherer, Director Future Media, France Televisions.

Ted Sarandos has led content acquisition for Netflix since 2000 and is recognised in the industry as a key innovator in the acquisition, production and distribution of film and TV series.
Netflix, the world’s leading internet subscription service for TV shows and movies, has over 50 million members in more than 40 countries, who watch more than one billion hours of per month.
Netflix has a burgeoning slate of must-see original series, including “House of Cards”, “Lilyhammer”, “Hemlock Grove”, “Orange Is the New Black”, “The Killing”, the fourth season of “Arrested Development”, “Bojack Horseman” and, coming in December, “Marco Polo”.
Netflix just launched in France, Germany, Austria, Switzerland, Belgium and Luxembourg, giving broadband users in those countries access to a curated selection of Hollywood, local and global TV series and movies, whenever and wherever they like on TVs, tablets, phones, game consoles and computers.
Netflix is also available in the UK and Ireland, Denmark, Finland, Norway, Sweden and the Netherlands.

Keynote speaker:
Ted Sarandos, Chief Content Officer, Netflix
Eric Scherer, Director of Future Media, France Televisions, France

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What’s next ? L’intelligence artificielle va transformer Internet

What’s next ? L’intelligence artificielle va transformer Internet | Big Media (En & Fr) |
Un conseil : pour entrevoir les technos de demain, suivez les capital-risqueurs ! Ils se bousculaient cette semaine à Boston à la conférence annuelle EmTech du MIT consacrée aux technologies émerge...
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Watching what happens: The New York Times is making a front-page bet on real-time aggregation

Watching what happens: The New York Times is making a front-page bet on real-time aggregation | Big Media (En & Fr) |
A new homepage feature called "Watching" offers readers a feed of headlines, tweets, and multimedia from around the web.

The rhythms of the homepage of are by now familiar, even a little predictable. The core of its layout has been steady for almost a decade; regular readers have come to know how stories flow in and out of slots, mixing the day’s top news, timely features enjoying their minute in the sun, nods to the opinion section, and a breaking story or two. While the page might have live updates — say, if the fate of Scottish independence hangs in the balance — few would confuse it with the frenetic pace of a newsy Twitter stream.

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La publicité programmatique : le SEM d’aujourd’hui

La publicité programmatique : le SEM d’aujourd’hui | Big Media (En & Fr) |
A l'image du SEM, la publicité programmatique est en passe de devenir une spécialité. Une nouvelle vague d’entreprises a déjà émergé

Au début des années 2000, j’ai reçu un coup de fil d’une amie m’annonçant qu’elle dirigeait le service commercial du moteur de recherche Google au Royaume-Uni. Elle m’a présenté l’offre en quelques mots : des publicités courtes, uniquement du texte, ciblées par mots-clés. Avec le recul, et étant donné ce qui s’est passé depuis, j’aurais dû être séduit par le concept, mais cela n’a pas été le cas, j’ai même trouvé l’idée étrange. Impossible d’appliquer les règles que j’avais apprises en media planning sur la couverture démographique ou la fréquence, ni même la négociation puisque la vente se faisait aux enchères.

En savoir plus sur

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#FAparis Culture : pour un big data créatif - live Orange blog

#FAparis Culture : pour un big data créatif - live Orange blog | Big Media (En & Fr) |
David Lacombled's point of view about big data and culture

Le big data. Des milliards de données et moi, et moi, et moi… Dans The Circle (Knopf), roman pas encore traduit en France, le romancier américain Dave Eggers montre vers quels paroxysmes le big data peut nous mener. À travers l’ascension irrésistible d’une jeune femme au sein de Circle – un ultra-géant du Net fusion entre Google, Facebook, Snapchat, et Twitter – il montre comment la transparence via les données sur nous-mêmes peut mener à une dictature – mix entre 1984 de Orwell et le Meilleur des Mondes de Huxley. Mais ce qu’il y a de glaçant dans ce roman c’est qu’il ne se déroule pas dans un futur lointain, mais dans un futur si proche qu’il ressemble à notre présent. C’est une dystopie au futur immédiat ou au quasi présent.

Ce roman fait écho à cette course au big data, la nouvelle ruée vers l’or pour les géants du Net, où les données, nos données, sont les pépites. C’est la ruée vers notre moi.

Une équation qui repose sur le principe que plus les marques collectent de données nous concernant, plus elles sont en mesure de proposer un ciblage publicitaire efficace.

Une évidence diront certains. Car il certain que notre trace numérique, fruit de nos pérégrinations sur la Toile donne des indications sur qui nous sommes et ce que nous consommons. Elle permettra d’éviter d’envoyer une demande assurance-retraite à un fan de One Direction, groupe dont raffolent les teenagers. Certes.

Mais cela restera toujours statique. Jusqu’à la caricature parfois : on connaît tellement bien votre envie de cuisine que l’on vous envoie un message publicitaire de la cuisine équipée que vous venez déjà d’installer, ou vos envies de voyages que l’on vous fait rêver avec une destination dont vous revenez !

Les données quelle que soit leur ampleur, bref même le big data le plus « big », échouera toujours à définir précisément, au-delà du périmètre de ce que nous consommons déjà, ce que nous désirons.

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Visiware opens second-screen creative development centre

Visiware opens second-screen creative development centre | Big Media (En & Fr) |

Visiware has cut the ribbon on a dedicated facility for second-screen creative development, dubbed Le Studio.

Le Studio is aimed at helping producers analyse, define and develop engaging interactive TV experiences on companion devices, from initial concept development and programme definition to technical analysis and sales development.

"Visiware can accelerate social TV and play-long game experiences for producers, helping them avoid common technical and content development mistakes," the company said. "Visiware's highly experienced technical and creative teams can help producers develop interactive designs with rapid mock-ups and precisely defined specifications."

"Whether you need data analysis, project management, user interface (UI) or user experience (UX) design support, or graphic design, Le Studio enables producers to conceptualize and build powerful second-screen experiences for their shows," said Colas Overkott, CEO of Visiware. "The motto of Le Studio is 'Improve on what is needed and remove what is not,' and we want to help producers reduce cycles in bringing synchronised TV, mobile, and Web experiences to users."

Visiware is offering a number of functions including the ability to integrate data from rich experiences to develop reliable interactive show components; create the user experience and show logic; validate technical feasibility; create social and gamification elements; build the UI and UX; build a free or pay-based companion app; and conduct testing on apps and show components.

Read more: Visiware opens second-screen creative development centre | Second Screen | News | Rapid TV News

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Television must mine bigger data or risk being Netflixed

Television must mine bigger data or risk being Netflixed | Big Media (En & Fr) |
Figures relating to consumer habits fuel decisions across a growing range of industries – and it's time for TV to catch up

Via Bruno Renkin
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Yahoo Acquires Local Search App Zofari -

Yahoo Acquires Local Search App Zofari - | Big Media (En & Fr) |

Menchie Mendoza of TechTimes recently wrote, “Affectionately described as a ‘Pandora for places,’ Zofari’s acquisition seemed to have attracted less attention when the deal was announced last week. Zofari uses natural language processing, machine learning, and third party data to collect information that matches up the user with places which the user may find interesting. 


With inspiration coming from what Pandora did for music and what Netflix did for movies, the company believes that they have created a beautiful and powerful recommendation app that enables users to learn new places through previously made searches on familiar and personally liked restaurants, cafes and bars.”

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Recommender Systems - past, present, and future

Recommender Systems - past, present, and future | Big Media (En & Fr) |

Recommender systems are among the most fun and profitable applications of data science in the big data world. Training data (corresponding to the historical search, browse, purchase, and customer feedback patterns of your customers) can be converted into golden opportunities for ROI (i.e.,Return On Innovation and Investment). The predictive analytics tools of data science yield a bonanza of mechanisms to engage your customers and enrich their customer experience. What better loyalty program can there be if not the one that offers the customer what they want before they ask (and sometimes, even before they think of it for themselves). Yes, we know of some cases that have gone bad (such as the secretly pregnant teen and the targeted coupons that Target sent to her father), and we recognize that there is a fine line between being intimate with your customers versus being intimidating, but usually people do like to receive offers for great products that they love. 

A new O’Reilly book (by Ted Dunning and Ellen Friedman) on Practical Machine Learning – Innovations in Recommendation  takes a look at the nuts & bolts, the mechanics and the implementation, and the theory and the practice of recommender engines. They describe the design of a simple recommender using Apache Mahout, based upon the co-occurrence analysis of customers' product purchases.

The book is available as a free download from the MapR website at:
These are the chapters in the book:
  1. Practical Machine Learning
  2. Careful Simplification
  3. What I Do, Not What I Say
  4. Co-Occurrence and Recommendation
  5. Deploy the Recommender
  6. Example: Music Recommender
  7. Making it Better
  8. Lessons Learned
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What Are People Doing With Second Screens?

What Are People Doing With Second Screens? | Big Media (En & Fr) |

Rob Gelick, Senior Vice President and General Manager of CBS Interactive Digital Platforms, acknowledged that “engagement on the second-screen is now an established behavior for fans” in a recent interview with social TV website LostRemote.

According to a January 2014 survey conducted by the Consumer Electronics Association and National Association of Television Program Executives, 79% of respondents acknowledged that they utilize a second device.
In February 2014, Nielsen released similar findings, in that 84% of viewers utilize tablets and smartphones while sitting in front of the tube.
Telecom market analyst Infonetics Research discovered that 47% of pay-TV providers prefer tablets for multiscreen participation, and it is believed that will increase to around 89% by next year.
So, with all of these audience members regularly using tablets and smartphones, what specifically is capturing their attention on them?
Facebook and Twitter are two bulwarks that interest viewers. Social analytics agency SecondSync found that 60% of Facebook primetime programming interactions occur as a broadcast airs, but from an “intensity standpoint,” Twitter can claim the gold medal. The company learned in their own survey that viewers using Twitter had a 53% TV ad recall, as opposed to 40% who did not use second screens.
Nielsen’s January report revealed that large percentages of second-screen users fall into three main categories: web surfers, online shoppers and show information-seekers.
MEF, an international mobile content community, stated in their February 2014 Global Consumer Insights report which surveyed 10,000 respondents, that 69% of second-screen users made a purchase in 2013.

In TiVo’s 2013 Social Media and Multitasking Survey, 27%, the biggest share of viewers, reported using their devices to “search the Internet for information.”
For advertisers to successfully craft an experience around these behaviors, “a campaign needs to leverage social data, factor in location, and think about context and the emotional state of the consumer,” disclosed Michael Hayes, chief revenue officer and chief marketing officer at mobile advertising firm UberMedia.

Market research business Parks Associates found that 60% of second-screeners use their devices to watch anywhere from 1-5 hours of video per week, and estimate that in-app advertising revenues will be around $5.6 billion by 2017.
PricewaterhouseCoopers further discovered that 69% of users are willing to interact with a relevant mobile ad.

- See more at:

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Les Jeunes et les Smartphones | Mediametrie

Les Jeunes et les Smartphones | Mediametrie | Big Media (En & Fr) |
Les 15-24 ans, qui représentent près de 12% de la population, sont 7,3 millions en France. La quasi-totalité est internaute et raffole des smart-phones à un point qu’on n’imagine peu communément. Un véritable plébiscite d’après la dernière enquête du Web Observatoire : près de 80% sont équipés.
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Aurore Domont : « La data est partout… mais l’or noir, c’est le contenu » - YouTube

TheMediaShaker était partenaire du HubForum qui s’est tenu les 8 et 9 octobre derniers à Paris pour une série de conférences qui ont rassemblé les décideurs du monde du digital. A cette occasion, nous avons rencontré Aurore Domont, Présidente de FigaroMedias, à l’issue de la conférence « Data : arme ultime de l’efficacité publicitaire ? ».

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Journaux : 3 conseils du co-fondateur de Blendle l'iTunes de la presse | CFJ - MetaMedia

Journaux : 3 conseils du co-fondateur de Blendle l'iTunes de la presse | CFJ - MetaMedia | Big Media (En & Fr) |

Par Barbara Chazelle, France Télévisions, Directions Stratégie et Prospective

« Les jeunes ne veulent pas payer pour de l’info. Mais il y a 10 ans, on disait pareil pour la musique ! », a rappelé Marten Blankesteijn, co-fondateur deBlendle, invité cette semaine par le CFJ pour sa leçon inaugurale. Aujourd’hui, les jeunes paient $ 10 par mois pour Spotify alors qu’on trouve de la musique gratuite sur YouTube. 

Blendle, c’est la start-up news de la rentrée en Europe. Souvent décrite comme l’ « iTunes de la presse », le modèle de la plateforme néerlandaise, soulève de grands espoirs dans le monde de la presse.

1. Etre fun et aussi simple que de payer une appli

2. Les marques restent importantes

3. Mais besoin d’un meilleur journalisme

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PMP Medios, nueva plataforma de publicidad RTB de Vocento, Prisa, Unidad Editorial y Grupo Godó

PMP Medios, nueva plataforma de publicidad RTB de Vocento, Prisa, Unidad Editorial y Grupo Godó | Big Media (En & Fr) |

Los grupos editoriales españoles, VocentoPrisaUnidad Editorial y Godó han lanzado en colaboración con otros medios digitales una nueva plataforma de venta programática de publicidad en tiempo real destinada para medios de comunicación.

Bajo el nombre de PMP Medios nace este proyecto que pretende dar respuesta a la creciente demanda que se está experimentando en el mercado publicitario en relación al modelo de compra automática de espacios publicitarios.

Este proyecto ofrece más de 50 webs pertenecientes a los principales editores españoles lo que supone una cobertura del 92% la audiencia de toda la información digital (más de 17.605.000 lectores).

- See more at:

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The future relationships between DVR, nDVR and TVoD

The future relationships between DVR, nDVR and TVoD | Big Media (En & Fr) |

Network DVR is coming but most observers predict that the in-home DVR will survive for many years and some are predicting that the local hard drive will continue to provide an essential cache for the near-live time-shifting (like rewind 30 seconds, rewind 30 minutes) that accounts for a notable part of our non-linear viewing. DVR and nDVR will become less distinct, as concepts, and more of a technology continuum. Over time, many consumers will neither notice or care about the technical differences.

Via Bruno Renkin
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Musique et streaming (infographie) - Vous et la musique - UFC-Que Choisir

Musique et streaming (infographie) - Vous et la musique - UFC-Que Choisir | Big Media (En & Fr) |

Quel genre de musique écoutez-vous, à quelle fréquence, sur quel appareil ? Comment découvrez-vous de nouveaux artistes ? Connaissez-vous le streaming...

Via Yvan Boudillet
Patrick W.'s curator insight, September 25, 5:15 PM

ajouter votre point de vue ...

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Figaro: nous sommes devenus une véritable régie plurimédias

Figaro: nous sommes devenus une véritable régie plurimédias | Big Media (En & Fr) |

Les marchés des médias et de la publicité vivent une véritable révolution avec la convergence des différents supports et la multiplication des offres digitales. La mue opérée par le quotidien Libération, qui ne peut plus vivre grâce au seul papier, a été entamée plus tôt par de nombreux autres journaux. Depuis quelques années, le groupe Figaro est en constante évolution et a très largement étendu sa marque sur le digital, la vidéo et la mobilité. La régie publicitaire du Figaroa accompagné cette mutation.

Arrivée il y a un an à sa tête, Aurore Domont, présidente deFigaro Medias, a profondément bouleversé son organisation avec une conviction: «Les régies publicitaires doivent accélérer leur mutation et proposer autre chose que de la vente d'espace publicitaire aux agences média, aux agences de publicité et aux annonceurs. Elles doivent renouveler leur discours et leurs promesses: l'objectif est de créer de l'engagement, de la relation, du trafic pour recréer de la valeur.»

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Sport and Second Screen Consumption

Sport and Second Screen Consumption | Big Media (En & Fr) |

As millions of sports fans around the world sit down to watch sporting events every week, be sure that their smart phones, laptops, and tablets are not far from reach. More and more eyeballs are being diverted to these devices while watching sport. During breaks in action fans are sure to be checking social media feeds, getting the latest stats and analysis, chatting with friends, searching for relevant information, or checking on their fantasy team. This is the second screen effect.

As a recent article by Google (Sports Fans and the Second Screen, 2014) reports, 77% of us now watch TV with a laptop, phone or tablet nearby. Collective moments such as big televised sporting events are prime second screen territory. To see this shift in attention we can look at the difference between the 2010 FIFA World Cup and the 2014 UEFA Champions League final match. During the 2010 World Cup about 18% of searches for games, players and teams occurred on mobile devices. In the 2014 UEFA Champions League match, an impressive 63% of those searches were on mobile. What is also of importance is that consumers are much more likely to be searching during the game rather than after the final whistle (which was much more common in past years). This means that brands can connect with consumers in real time, when they are most engaged.

Motivations for Second Screen Consumption:

Google also went into fans natural viewing habitats to understand their motivations to use second screen devices and applications. You can find the full report here. The following is a summary of their findings:

Sport fans can be divided into three categories based on their motivations to use second screen devices
and applications.

  1. Sharing the Rush – these fans want to feel the roar of the crowd in real time. Second-screening is about immediate social connection and validation—feeling the adrenaline of the crowd and speaking their mind. Recommendations for this group include:
    • Give fans at home ways to participate in the energy and rituals
      of the stadium.
    • Make fan-to-fan communication more dynamic and visual.


  2. Social Broadcasting- These fans want to push entertaining and inspirational content out to their network. They want cool content to be easily accessible and at their fingertips. Recommendations for this group include:
    • Make cool, credible content easy to access. Make interactions quick, and sharing seamless.
    • Plan ahead. Identify possible scenarios and create content that can be tweaked on the fly and quickly delivered when the time comes.


  3. Searching for a Common Language – These fans are looking for stats and info to be armed with information for social situations. This info can help them fit in at work or with sport savvy friends. Recommendations for this group include
    • Make it easy to find and collect snackable facts, stats and trivia.
    • Partner with creators and influencers to surface relevant info in
      engaging ways.
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The Toad Stool by Alan Wolk: The Spotifyization of Television: Towards A Newer, Better Business Model

The Toad Stool by Alan Wolk: The Spotifyization of Television: Towards A Newer, Better Business Model | Big Media (En & Fr) |

In the broad curve of technological change, the music industry has, for better and for worse, always been a few years ahead of the television industry. And while the very different business models between the two industries translates to very different disruption models, if you want to see where the future of television will net out, you need to look no further than Spotify. 

Spotify provides the answer to the question as to how we’re going to be watching TV: will everything be on demand, with viewers sifting through a huge catalog of shows to find something to watch that night. Or will there still be linear TV, where all the viewer is required to do is hit the “on” button and sink back on the couch. 

The answer, judging from the success of Spotify and similar services, is both. 

Spotify works because it solves all of the various use case scenarios its audience might have. 

If you feel like listening to a specific song, Spotify lets you do that, even providing alternate and cover versions. 

Feel like listening to a playlist you’ve made yourself, the latter-day version of the mixtape? You can do that too. 

Have a friend with really great taste in music and want to listen to their playlists? All you need to do is subscribe— the latter day version of the gifted mixtape. 

And finally, if you just want someone else to take over the controls, Spotify provides a variety of curated “radio stations” either through the app or via third party providers like SoundCloud and Rolling Stone. 

How does this translate for television? 

So if we look at how this plays out in television, we’ll soon see a very similar array of options.

1. Video on Demand (VoD)
 If there’s a particular show or movie you want to watch, you’ll be able to do a quick search and call it up. This will also allow for binge viewing, as you’ll be able to watch an entire season at once or just the 4 episodes that you missed. VOD viewing can be a quick half hour surgical strike, or a long evening of catch-up— whatever suits your mood.

2. Playlists
  Viewers will have their own playlists of TV series they are in the midst of watching, movies they’ve flagged for future viewing and/or repeats of their favorite shows. These will function like music playlists - one show plays right after the next, so there’s no need to go back to the program guide after every episode. 

3. Curated Playlists
  These can be from friends or from professional curators and may be around a specific topic: best crime dramas, best of CSI, best of 90s sitcoms— the possibilities are endless. Viewers can watch the entire playlist at once or just work their way through the list one at a time. 

4. Linear Stations  
These will function similar to the “radio” stations on music services today and will in large part be curated by today’s cable and broadcast networks. They will have original, first-run content that’s aired at a specific day and time. Users will be able to personalize them by, say, emphasizing certain types of content (e.g. comedies), but some version of prime time will remain in effect because there’s still a lot of love for a shared communal live viewing experience beyond just news and sports. 

5. Personalized Linear Stations These will be the oft-cited “Pandora for TV” - the viewer inputs some of the shows or types of shows they like and an algorithm puts together a personalized linear station for them, a combination of live broadcast, VoD and non-broadcast video from alternative providers. Users will be able to set up linear stations for short-form content, long-form content or both. 

6. Personalized Accounts While Spotify’s pay service is still in its nascency, we can see the outlines of how a system works where users are charged according to the number of devices they wish to access and the number of individual users they want on each account. This is the wave of the future and while it may not result in any significant financial savings for consumers, it will (finally) enable the roll out of true TV Everywhere. 

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Understanding Programmatic Trading : An IAB Europe White Paper [pdf]

RTB (real time bidding) was a classical industry disruption in that it delivered a new way of buying and selling advertising that was effective in meeting the needs of a very specific market.
By broadening the offer of remnant inventory it drove revenue for publishers and by offering specific audience targeting it transformed the way advertisers think about  digital media. But as the technology has matured, Programmatic Trading has
become ever more capable. Today it is widely used in the performance and RTB marketplace, while making significant inroads to the bespoke deals done by buyers and sellers. It has been a commercial success for the entire ecosystem, which has
encouraged rapid and increasing adoption. However, despite the fact that its progress has been significant there are some issues that need to be resolved.
Programmatic Trading is being hindered by a lack of technical and commercial understanding in the advertising community. In IAB Europe’s research 12 with AppNexus and WARC, it was found that while the vast majority of media buyers are using Programmatic Trading almost a quarter do not have a good understanding of it.
For marketers, that number is considerably higher at almost two thirds. And while it’s true that marketers perhaps don’t need to know the ins and outs of the way in which media is bought; their lack of understanding limits their ability to see how paid media
complements other real time initiatives, how brands can be built at scale across mobile and social channels with clear and consistent feedback loops and how digital is now the most effective way to reach and engage specifically targeted audiences.
The research also shows significant levels of concern from publishers and advertisers alike that the buyer/seller relationship has become overly combative. This potential erosion of trust between all parties cannot be entirely offset by the efficiencies of Programmatic Trading. Instead, the technology needs to evolve to
enable better inventory discovery, more collaborative deals and greater consistency in the metrics and measures used to define and realise success.
At IAB Europe, we are working with the industry to educate and inform about the impact of Programmatic Trading and are building the objective criteria and standards that will shape the industry for the next five years.

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SemanticSVD++: Incorporating Semantic Taste Evolution for Predicting …

Presentation slides from the International Conference on Web Intelligence 2014.
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Scooped by Nicolas Moulard - Actuonda!

A Look at the Social EPG | FYI Television

A Look at the Social EPG | FYI Television | Big Media (En & Fr) |

When we previously discussed the history of the electronic program guide, we revealed that the next level for EPGs would be social iterations.

A social EPG consists of the traditional television listings supplemented with aspects of social media (e.g. Twitter, Facebook, etc.) and/or other methods for engagement with people.

Several different IPTV publishers and app services are providing this kind of EPG now, and the trend seems to be growing in countries other than the United States.
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GroupM's Move Toward Transparency | MediaPost

GroupM's Move Toward Transparency | MediaPost | Big Media (En & Fr) |

There's no doubting the impact that open exchanges and programmatic buying have had on the advertising landscape. But while unlimited scale for cheap is compelling, it does have its downside. For GroupM agencies, that downside appears to have finally won out. In a strategic and well-defended move, GroupM has agreed to stop buying into open exchanges, illustrating that agencies and advertisers should be building direct publisher relationships or working with trusted partners that leverage O&O/direct publisher inventory.

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Netflix reportedly planning Spain launch for 2015 » Digital TV Europe

Netflix reportedly planning Spain launch for 2015 » Digital TV Europe | Big Media (En & Fr) |

Netflix is due to launch in Spain in the last quarter of 2015, according to a report this week by Spanish news agency, Europa Press.

The report, which cites sources close to Netflix, said that the movie and TV streaming business is planning a second wave of major expansions in Europe in Q4 next year.

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