On Top of TV take a closer look a innovation and disruptive phenomena in the TV industry. Linear is the king, but Over The Top distribution and Transmedia storytelling is here and will have a promising future.
Spanish OTT service Wuaki.TV plans to launch across Europe DigitalTVEurope.net Wuaki.TV, dubbed the 'Spanish Netflix', plans to launch across all major European territories, according to founder and CEO Jacinto Roca, the company's founder and CEO.
Netflix went live on 1 February with House of Cards, its new original series starring Kevin Spacey, and its move to release the entire season at once has many talking about the end of TV as we know it.
The episodic model, where once a week the nation gathers to share in the communal suspense of What Happens Next, is headed for certain death, some postulate — destined to be replaced by binge TV.
Having all of the episodes available at one time of a new season of a series encourages marathon viewing, where a fan will sit down and watch several episodes at a stretch. The all-at-once distribution model has a few things going for it: for a start, it allows people to set their own appointment viewing, as it were, just as they do with DVDs of past-season TV shows and even video-on-demand (VOD) catch-up TV offerings. And that sheer flexibility and personal time reclamation aspect is good for engagement, which offers a ratings and advertiser reach benefit — in theory.
On the flip side, some say that catering to binge TV behaviour could have vast consequences for content production. If the days of waiting for the season finale of Lost or debating who shot JR are over, then why are episodes even necessary in the first place? Could television become the domain of the miniseries and the over-long movie? Why 13 episodes when one can tell the same story in half the time as a six-hour miniseries?
This is a spectre raised by Beau Willmon, the head writer of House of Cards, who told the New York Times that eventually content producers "might even dispense with episodes altogether. You might just get eight straight hours or ten straight hours, and you decide where to pause."
Meanwhile, Nielsen recently found that the ad value of marathon/catch-up viewing is just beginning to be felt. The measurement king ran a pilot study featured in the latest Nielsen Cross-Platform Report, that the first time, measured so-called "beyond 7" programming — that is, non-linear, catch-up, binge-able TV.
TechCrunch's MG Siegler reports that Apple indeed appears to be moving closer to making a major push into television, perhaps leveraging the existing iOS-based Apple TV to pursue gaming as a focus point for the initiative. Xbox founding engineer Nat Brown had noted earlier this week that he believes Apple could destroy the traditional console gaming business by opening up the Apple TV platform to third-party apps, and Valve founder Gabe Newell had expressed similar sentiments several weeks earlier.
Top execs from HBO and Netflix offered contrasting perspectives on the value of binge-viewing in separate appearances Tuesday at the D: Dive into Media conference. HBO president/COO Eric Kessler downplayed the appeal of releasing multiple episodes all at once, as Netflix did recently for original series "House of Cards." "It's really a small percentage," he said of viewing activity on HBO Go, the premium channel's digital platform. What little binge viewing occurs on HBO Go, said Kessler, is when viewers are trying to catch up to a series that has already begun a run of original episodes on air or when subs first sign up and watch a series that is no longer in circulation on HBO. Kessler indicated that the traditional weekly episode installments help drive buzz, particularly across social media, that giving a series momentum through its finale episode. "For us, what was much more important is for fans to engage in social conversations every week," he said. Netflix chief content officer Ted Sarandos stayed true to the company's no-ratings policy but noted that nearly every subscriber who watched the first episode of "Cards" have gone on to watch subsequent episodes. "That's a great sign that people are enjoying it, and getting sucked into it," he said.
Broadcast TV is hoping good things come in smaller packages. Over the next three weeks, ABC is launching two series, Zero Hour (Thursday, 8 ET/PT) and Red Widow (March 3, 9 ET/PT), that are scheduled to last 13 and eight episodes, respectively, without any plan this season to expand to the 22 episodes that is standard for a successful show.
Fox has scheduled 15 episodes of The Following, which is off to a solid start, based on star Kevin Bacon's wishes to do a smaller number of episodes, as is common in cable TV. And CBS this summer plans Under the Dome, a 13-episode miniseries based on a Stephen King novel that promises a satisfying ending but could return in success.
Broadcast networks are hardly abandoning the traditional financial structure of a new show order, which calls for an initial 13 episodes, followed, if ratings are high enough, by a back order of nine or more that helps amortize costs and builds toward the roughly 100 episodes needed for syndication. However, they are considering shorter orders, which are more common in a cable world less dependent on syndication, in cases where that is best for the material or the talent.
Sony's Michael Lynton says that in the age of social media, a film's audience can now help kill a movie or extend its life.
On DVDs: DVD is not going away. Not now, not for the moment.
On Netflix and the DVR: “I think Netflix and DVRs have fundamentally changed the creative nature of the product in a spectacular way. … In the past, you had a really difficult time, you had a tough time creating long-form drama. The DVR and Netflix allowed people to catch up if they missed an episode. That’s a huge deal. You can now create these long-form narratives where characters can be developed over 13 episodes. That’s more attractive to viewers and writers. And that’s a good thing.”
On Facebook and Twitter: They can help a lot. “Marketing is a complicated recipe. If you don’t have all the right ingredients, the recipe falls flat. Social media is definitely part of the recipe. We like social media. The studio system is set up to look at tracking, and tracking is set up to follow television, not social. We’re not properly measuring social media.”
The BBC has approved plans to launch a raft of programming online before it hits linear TV.
Minutes just released from a meeting of the BBC Trust, the organisation that oversees the UK public broadcaster, reveal that it has greenlit a trial that will see up to 40 hours of BBC content launched on streaming and catch-up service iPlayer and elsewhere online before on the BBC’s linear channels.
Specifically, the Trust’s Strategy and Approvals Committee gave the approval.
The content in question will be across a range of genres, the Truts said, without detailing any specific titles or series.
The trial will run for ‘up to twelve months’.
The broadcaster has launched some content online ahead of TV before including Doctor Who series Pond Life, which was released on the Doctor Who website last year, but this is the widest experiment with online content yet.
The Trust is currently reviewing BBC Online’s activities and a public consultation is underway.
Kristian Bruarøy's insight:
TV 2 Norway had it's first trial for online previews for this in 2003, and began more seriously in 2004. Today the paying users of TV 2 Sumo (the name of the broadcasters online streaming service) are able to stream several weekly shows one week in advance of the linear service, and the popular daily soap one day in advance.
Matthias Kurth, Executive Chairman of trade body Cable Europe, has suggested that the cable industry is well positioned to play a role in the delivery of OTT services and would continue to work to make the connected TV an important part of the cable experience. Speaking to the Cable Congress blog in the run-up to the event March 5-7 in London, Kurth said the cable industry’s top priority was not to keep up, but to keep ahead of what consumers want. “How do we do that? By having the best infrastructure that delivers the best content out there. Consumers don’t really care about what the infrastructure is until it doesn’t work. But they do care more and more about moving their premium content around devices seamlessly and with the sort of high speed cable customers have grown to expect,” he noted.
Next up for NextGuide is… some soup? Dijit, the company behind the NextGuide app, is acquiring the assets of social TV check-in startup Miso. The rumors are true, after all
Dijit Media, the company behind the Nextguide TV guide app, is buying social TV pioneer Miso’s assets. The acquisition, which was announced by Dijit Friday, doesn’t include any of Miso’s remaining eight employees, but Miso’s co-founder and CEO Somrat Niyogi will become an advisor to Dijit. The move is another sign that the social TV space, which has brought us dozens of startups with similar ideas and products, is ripe for consolidation.
Business Insider Report: Twitter buys social TV analytics company BlueFin Labs CNET Twitter has reportedly acquired BlueFin Labs, which generates social TV analytics, in a deal which is said to be the social-networking giant's biggest-ever.
Fox Broadcasting Co. is devoting more resources to original digital programming as the network beefs up its multi-platform content menu. In an overhaul of its current programming department, Fox has appointed two execs to focus on multi-platform content. James Oh has been tapped to lead the current programming wing as senior veep, reporting to chief operating officer Joe Earley. Shana Waterman has been named senior veep of event series and multi-platform programming, reporting to Fox entertainment chairman Kevin Reilly. Former News Corp. digital media exec Kiliaen Van Rensselaer has moved to the network to serve as senior veep of multi-platform programming. He'll work with Earley and Waterman to expand Fox's digital activity. "These appointments are an investment in some of our top people to strengthen our core programming business and take strategic steps forward with alternative platforms to incubate talent and ideas," Reilly said.
Every second matters when it comes to online video performance, a statement that's literally true. In his address at the recent Streaming Media West conference in Los Angeles, Nathan Dye, software development manager for Amazon Web Services, revealed that studies have shown that a one-second delay in an e-commerce web site's loading time can reduce revenues by seven percent.
Loading times are just as crucial for online video. Shoppers often don't come back if videos are slow to load.
"Poor performance and video interruptions lead to less return traffic and less video viewed overall," Dye said. "IMDB, of course, knows this very well. Their operations team is constantly using their performance measurement, their metrics and dashboards, to find issues with their infrastructures or find problems their customers are experiencing, pinpointing those issues and finally fixing them. Ultimately, that's what performance measurement is all about: it's about improving the streaming performance of your customers by first finding those issues and then fixing them."
The Australian government has committed another A$10 (US$10.7m) to the A$20m it had already pledged to support the development of the country's interactive entertainment industry. Funding organisation Screen Australia will now invest more than A$30m over the next three years in the country’s interactive and multi-platform game, drama and documentary business. “The pressure facing the industry is job migration and falling foreign investment. These programmes released in draft today go a long way towards realising a strong and sustainable Australian games development sector, to ensure we tap into the huge global appetite for interactive entertainment,” said Screen Australia’s chief operating officer Fiona Cameron. The draft funding guidelines breaks this down as A$4–5m for games production, A$2–3m for games enterprise and A$2–3m for multi-platform drama production, which will support individual multi-platform drama projects. The remaining money will go towards interactive and multi-platform projects for documentary programming.
DISH today formally announced the nationwide launch of its Hopper with Sling DVR device, which allows users to record their favorite shows for later viewing, skip ads and also download DVR'd content to their iPad for offline viewing.
For many individual channels that have small- or medium-sized audiences, a switch to over-the-top (OTT) streaming as their sole means of video delivery could become an option over the long term.
However, it’s currently not cost effective for television channels with large numbers of viewers to move to OTT-only video delivery, according to an IHS Screen Digest Insight Report from information and analytics provider IHS.
An analysis of the U.K. television market reveals that about two-thirds of the country’s major channels potentially could afford to switch to a unicast OTT-only delivery model five to 10 years in the future. Of the 192 channels rated by the Broadcasters' Audience Research Board (BARB), only 58 have such large audiences that moving to a pure-OTT approach would be cost ineffective for the foreseeable future.
Even so, the remaining 134 are candidates that could eschew traditional pay-TV platforms and move to OTT delivery in standard definition (SD).
Channels for which the cost of unicast OTT streaming would be 1.5 times or less than the cost of satellite broadcast are all candidates to make the transition.
When it created a YouTube channel for American Idol, Fox faced an ad rights minefield. Learn how programmers can monetize their streaming video deployments.
"We recently put our stuff on YouTube. We have an 'American Idol' channel on YouTube, and just for the North American rights to put our ads on that platform was extremely difficult, from a process discussion, technical integration, using their ad server or ours. Those kinds of discussions are complex and then you get down to the technical delivery and the operational discussions," London said.
For those facing the same challenge of managing ad rights and creating a workable technical platform, London offered advice.
"The first and foremost is you've got to get the business side and then you really dig into the technical part of it. A lot of people probably in this room think, technically it's probably pretty straightforward, but testing that, the various devices that are now out in the marketplace makes it very complicated," London noted.
"I think 'X Factor' on Roku is a similar situation. What does that look like? Similar conversations due to the partnership with Simon Cowell's production company as well as Freemantle makes it very interesting but also keeps a lot of challenges for us, but we attack them as they come."
The digital age lets us consume media how and when we want, and in the format or our choosing. If we want to hear a song, for instance, we no longer have to wait for it on the radio or buy a CD stuffed with filler we don’t want to hear. The old content models have evolved except for one glaring exception: television. The TV business is still based on an archaic business model that forces customers to buy arbitrary bundles of channels. Fans of arts programming, for instance, often have to shell out $5 a month for football shows — even if they hate football. This isn’t a technology issue. It’s instead the problem of what media doyen Peter Kafka calls the “TV industrial complex” — a cabal of broadcasters and cable distributors that refuse to surrender their bundled TV business model. That’s why upstart Aereo, which uses tiny antennas to stream TV signals to mobile devices, is so intriguing to watch. The company is offering a way for people to watch shows where and when they want — and has so far withstood the TV industry’s lawsuits. Yesterday, we showed off photos of Aereo’s tech. Today, we’re exploring the vision and strategy of the man who wants to kick in the door of the TV industrial complex once and for all. Continue reading...
Digital technology is disrupting tv, but it also has the potential to make your tv ads more relevant. Digital disruption is bigger than any of them on their own and it is nowhere near finished turning the marketing and advertising world upside down. Read more about Coca Cola's effort to crack this code at Super Bowl 2013.
Matt McGee did an excellent job of tracking social media mentions in Super Bowl ads over at Marketing Land. Twitter is clearly what advertisers view as the best way to tie TV and brands together. Twitter mentions in ads were up over 300% from last year’s game while Facebook mentions in ads were OFF by 50%. Sorry Google+, no love for you at all.
Sharing your scoops to your social media accounts is a must to distribute your curated content. Not only will it drive traffic and leads through your content, but it will help show your expertise with your followers.
How to integrate my topics' content to my website?
Integrating your curated content to your website or blog will allow you to increase your website visitors’ engagement, boost SEO and acquire new visitors. By redirecting your social media traffic to your website, Scoop.it will also help you generate more qualified traffic and leads from your curation work.
Distributing your curated content through a newsletter is a great way to nurture and engage your email subscribers will developing your traffic and visibility.
Creating engaging newsletters with your curated content is really easy.