By Pierre Ziemniak
MIPTV 2015 is just around the corner, and as hard as it is to predict what the biggest trends are going to be in the TV industry for the months to come, here are a few observations based on our program and keynote announcements. What does the year’s biggest gathering of entertainment industry professionals tell us about the industry itself?
First and foremost, our theme this year is “The Millennial Shift”: consumer habits are changing faster than ever and the market must adapt to younger, mobile, and multi-connected audiences. This is not a new phenomenon, of course, but millennials are the consumers of tomorrow, and as media users, their habits tell us a lot about the future of TV distribution, content, and formats. Personalization, streaming, and interactivity are the three key words of this major shift, which sees the rise of web platforms — and YouTube is just the tip of the iceberg here, given the high number of many multi-channel networks competing to reach millennials.
This is where a few clarifications are necessary. The “second screen”? It’s not as relevant as it used to be: “We seem to have quickly skipped from online devices being the second screen, to them being the first for many generations, especially the all-important millennials,” says Matt Campion, founder/creative director at Spirit Digital Media, the UK-based digital and social-media production agency. “Cord-cutters”? “Cord-shavers” may be a more appropriate term for millennials, who have actually reduced the amount of time they spend in front of traditional TV without totally abandoning it.
More than ever, the connection between offline and online viewing is key. Viacom, for instance, recently created “appisodes”: more than just catch-ups tools, these new formats offer interactivity and many more options. The My Nick Jr app for kids’ network Nickelodeon is already a huge success.
Even more important in this new online landscape are social networks, which have joined the race for content for good, redefining the boundaries of entertainment — and online gaming has a lot to do with it. Just a few figures: Facebook paid $2 billion last year for virtual-reality gaming platform Oculus VR, and Amazon bought the broadcast gaming and eSports platform Twitch for $970 million. According to research company IHS Technology, eSports will represent 6.6 billion hours of viewing globally in 2018 from 2.4 billion hours in 2014.
These major changes will be highlighted and analyzed at the MIP Digital Fronts, the last two days of MIPTV totally devoted to online entertainment. MCNs such as Machinima, Collective Digital Studio, and AwesomenessTV — to name but a few — will be present to showcase their most talented creators, and offer the MIPTV audience a glimpse of online video’s future.
According to Machinima’s chief content officer Daniel Tibbets, money is the number one issue when it comes to millennials: “Millennials won’t pay $150 a month for cable, so you have to figure out how to hit them with the right content,” he says, further explaining that “the traditional TV networks must look at their release windows not as a syndication function but as a programming one.”
Collective Digital Studio’s Paul Kontonis insists on the need to be platform-agnostic: “We create entertainment programming on whichever platform it makes the most sense. If it’s a Vine series we’ll do a Vine series, if it’s a Vine series and then a TV film so be it. If it’s a YouTube series that should then go to Instagram then so be it,” he says.
And, last but not least, New Form Digital’s Kathleen Grace stresses the importance of storytelling: “it’s not about TV, it’s about content across multiple platforms that tells a story [millennials] can relate to. There is a huge opportunity there.”
Monetization, of course, remains problematic in many cases. But this should change soon, according to JWT Worldwide’s Lucie Green, who says that advertisers will respond to these developments. So, will millennials’ habits change the industry for good, judging by the new formats and distribution models that have emerged these past few years? As HBO, CBS, and Sony unveil their online-only video services, there are reasons to believe that 2015 will be the year when online viewing becomes more than just a trend for the new generation.
The second biggest trend witnessed and discussed MIP after MIP is that quality TV is now everywhere. Indeed, the best shows are no longer reserved to networks and cable, and can be found on broadband platforms. Here too, MIP Digital Fronts has positioned itself as a marketplace for current and next-generation content producers eager to reach online and mobile platforms, as well as for traditional broadcasters trying to attract young audiences — in any case, talent and quality content matters above all else.
Global media companies are fully aware of this shift and are now officially focusing a large part of their activity on digital channels — especially YouTube MCNs. The Walt Disney Company, for instance, paid $500 million for MCN Maker Studios — a MIP Digital Fronts founding partner — last year. Another MIP Digital Fronts founding partner, Vice Media, amassed $250 million from A+E Networks (which is partly owned by Disney). Hearst and DreamWorks Animation jointly own AwesomenessTV — another MIP Digital Fronts presenting partner — while FremantleMedia has formed digital-content studio Tiny Riot and has content partnerships with fellow RTL Group subsidiaries BroadbandTV and StyleHaul.
These moves are backed by research. International video-technology provider Ooyala reports that 706 million-plus homes — nearly half the world’s TV households — will be watching online video by 2020, up from the 374 million forecast for 2014. There’s more: media agency ZenithOptimedia predicts that global advertising revenues will reach $545 billion by year-end. It foresees TV advertising’s share remaining the largest by medium, but dropping to 37.4% in 2017 from 39.6% in 2014. The revenue share of desktop internet ads is expected to grow to 19.6% from 18.8% during the same period, while mobile ads’ share will leap to 11.4% from 5%.
The Emmy-nominated “What’s Trending” is a good example of a digital-first show being adopted by traditional TV operators. A daily interactive show on YouTube devoted to news topics that have gone viral online, “What’s Trending” has featured a host of celebrity interviews, from Arnold Schwarzenegger to Harry Potter himself Daniel Radcliffe. The team is now working on a digital series for Viacom’s VH1 network — even more impressive, it has a syndication agreement with the US’ CBS network. “’What’s Trending’ is the new water cooler, with fans sharing information, photos, and videos online. Not only do we get people through the noise of it all, we also entertain,” says Shira Lazar, ‘What’s Trending’ co-founder and presenter. “Two years ago, premium content on YouTube was rare. Now, anyone can take a camera and shoot something that could end up being good enough for television.”
In other words, democratization of content creation has never been more felt within the TV ecosystem — although it remains unclear what kind of long-term impact YouTubers and other online video creators will have on the industry as a whole. One thing is certain: authenticity and quality of content are no longer bound to the traditional TV screen.
A third major TV trend these days is the rise of branded content as a new entertainment form — it has been the case for several years now, with the MIPTV Brand Of The Year Award given to innovative brands in this field, include American Express, Heineken, Intel, and Vice Media. Chipotle and Piro won last year for their “Farmed and Dangerous” series on Hulu.
The reasons for brands to create content are numerous — being entertainment providers offers them flexibility in terms of reaching consumers through digital technology. A prime example is Marriott Content Studio, a subsidiary of hotel and resort group Marriott International: it was launched last September and is already winner of the MIPTV 2015 Brand of the Year award. Marriott has indeed managed to position itself as a content creator in record time, taking into account all the industrial shifts listed above: “We want to own the travel-and-lifestyle space,” says David Beebe, Marriott International’s VP of creative and content marketing, global marketing. “The journeys made in that lifestyle lend themselves to content naturally, because travelers are constantly tweeting, taking photos and videos, and capturing their adventures. We want to respond to that by creating content in all formats for all screens.”
Marriott has already formed partnerships with established celebrities, YouTube stars, and content producers, and will distribute its shows via social media (Facebook, Snapchat and Instagram), YouTube, and in-room screens at Marriott’s 4,100 hotels in 78 countries — not to mention the fact that they will be licensed to interested broadcasters. Marriott-developed entertainment notably includes comedy short film “Two Bellmen.”
The goal, says David Beebe, “is to produce engaging content that builds communities of people passionate about travel that will drive commerce.” And building communities will undoubtedly be a trend to watch in future years, depending on the brand’s culture and objectives — a powerful way to both engage consumers and create content that will rise above the noise and stand out in this ever-evolving media landscape.
Millennials, screens of all sizes, and branded content will thus be at the center of all panels and discussions at MIPTV — three topics that are shaping the industry day after day, with huge financial, managerial, and creative impacts. But what makes us live as an industry will remain the same: creative people eager to tell new stories in innovative formats — in a word, talent. Screen size, consumer habits, and brand-supported projects may matter more than ever, but good content always has, and always will.
This article was adapted from the MIPTV 2015 Preview magazine, available online at miptv.com. To find out more about MIP Digital Fronts at MIPTV, click here!
Theatergoers are already using Twitter’s Periscope and Meerkat live-streaming video apps, which have launched in the past few weeks, to broadcast movies directly from cinemas — including this weekend’s blockbuster, “Furious 7.”
However, studios apparently aren’t overly concerned that box office will be hurt by the shaky, handheld live streams on Periscope and Meerkat, which may include only a few minutes of a film anyway. Other forms of piracy, including in-theater camcorders who try to sell copies of films and peer-to-peer downloaders, are a much more serious concern.
A search on Twitter revealed at least a dozen posts by users purporting to be live-streaming “Furious 7″ on Periscope, and at least one Meerkat user doing the same. Yes, that’s a drop in the bucket for the pic, which is on track to clear $150 million in its opening frame, but it’s still early days for the apps, which have become quickly popular among the technorati.
“We haven’t encountered any issues with (Periscope or Meerkat) yet,” said Patrick Corcoran, National Association of Theatre Owners VP and chief communications officer. But, he added, theaters generally do not allow patrons to use devices capable of recording video to be used in auditoriums: “The same would be true of devices that live-stream.”
We are excited to announce that Microsoft has been positioned as a Leader in Gartner’s 2014 Magic Quadrant for Social Software in the Workplace! Vendors in the report were evaluated on ability to execute and completeness of vision, and Leaders are considered well-established vendors with widely used social software and collaboration offerings.
This is a great honor that reinforces our vision for Enterprise Social—to empower companies to work like a network. By integrating the components of Yammer with Office 365, Microsoft is uniquely positioned to deliver value to our customers. We also continue to help people get more done and collaborate more effectively with exciting new products like Office Delve, a new way to discover relevant information and connections from across your work life. Powered by the Office Graph, Delve shows you information based on what you’re working on and what’s trending around you.
As we continue to change the way people get things done at work, we look forward to partnering with our customers to ensure their success with social. We’ve already seen so many companies achieve amazing things by working like a network, and while we are proud of how far we’ve come together, we’re even more excited for the road ahead.
View the full Gartner’s 2014 Magic Quadrant for Social Software in the Workplace report.
Learn more about social productivity with Office 365.
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The conclusions drawn from our studies allow our clients to create more effective strategies for product development, sales, distribution, and advertising.
We conduct our work like a think tank, with our clients—be they brands or agencies—as partners in the process.
Plannerzone’s practice areas include:
Our research is informed by our fascination with ideas, beliefs, and behavior. We devote a lot of time to learning from minds better than our own. Sometimes this carries us into the realm of behavioral models, service design and systems thinking, each a tool that helps us understand the dependencies we observe in our studies.
Plannerzone works with advertising agencies such as R/GA, Digitas, J. Walter Thompson, Saatchi & Saatchi, BBDO, Mother, Wieden + Kennedy, and Ogilvy & Mather. Direct corporate clients have included Apple, Proctor & Gamble, Ameriprise Financial Services, Nestle, and 3M.
People are people. They aren’t customers, consumers, target audiences, segments, or low-hanging fruit. They are people with the kinds of joys, concerns, fears, and worries that real people have for their families, their livelihood, and their well-being. When we talk to a person as a part of a project, whether interview, group discussion, or a visit to a private home, that person—the person we are talking to—is the most important person in the world.
The reason is simple: Real people are interesting, and they hold the key to solving many of your business problems.
Qualitative research is not quant, and quant is not qual. There isn’t really such a thing as qual/quant. They are, in fact, two different types of research with distinctly different goals. Qualitative research tools are put to best use when digging into emotional territory to gain insight into human behavior.
This special territory is where we tap into a shared experiential space that’s difficult to measure with scientific objectivity; it is both art and science, drawing upon empathy and critical thinking to qualify the applicability of another person’s beliefs and feelings.
Quantitative research, by contrast, is all about measurement. It tells us in broad strokes how individuals, when consolidated into larger segments of the population, have behaved, or will behave. Quantitative research can effectively describe behavior, but it does little to explain why the behavior occurs. In the best of all possible worlds we use qualitative research to develop a hypothesis to test in a quantitative setting. Qualitative explores possible answers. Quantitative identifies the best answer.
We spend our time thinking about the right questions to ask, because if we ask the right questions sooner or later the right answers are sure to follow.
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After a big spike, Periscope has fallen back to earth. Over the past few days, Periscope links have received a few thousand more tweets per day than Meerkat, according to Topsy, which tracks Twitter. That’s hardly an insurmountable lead.
It’s easy to see why live streaming is finally catching on. From a practical standpoint, mobile networks are now fast enough in many places to support high-quality video streaming. (Our early experience with these services, however, has been flaky.) Screens are bigger, and people are simply watching more video on their phones. From a business perspective, this is also a potentially great development. Video is an excellent medium for advertising, and the immediacy of live events is an added bonus.
Scenes from Periscope.(Screenshot)
Read the rest of the article : http://qz.com/375545/the-meerkat-periscope-live-streaming-race-is-neck-and-neck-after-a-crazy-week/
In 2014, Land Rover embarked on a unique branded content project - an interactive digital book, "The Vanishing Game," written by British author, William Boyd. The project aimed to build the brand's reputation as a vehicle for adventure, discovery and exploration. The adventure thriller follows protagonist Alex Dunbar on a mysterious driving adventure across the UK, and the story is brought to life online through a multi-sensory experience, comprised of video, photography, animation, sound, music and narration.
"What I tried to achieve was to make the Land Rover an inherent presence in the story, something always there - implicit, strong, solid, reliable, ready to function - very like the part it plays in my memory."
- William Boyd, Author, The Vanishing Game
To further promote reader engagement and activity, NewsCred provided custom content around the story, which was distributed to various media outlets, including Vox Media, Quartz, New York Times and Travel + Leisure. Readers and actual Land Rover owners were encouraged to share personal driving adventures, tagged with #WellStoried. Pulling in that hashtag, the photos were collected and showcased on a dedicated Tumblr site, which allowed you to search the photos by keyword or location. The unique and innovative strategy has worked well for the brand, engaging adventurers around the world and enhancing its image as a luxury adventure vehicle.
Whether you’re a romantic away from your loved one for a semester overseas, or a grandparent with the little ones on an opposite coast, long-distance relationships just got easier. Brothers and former Google employees Petter and Kaspar Prinz noticed that the most written “word” via text and chat in 2014 was not a word, but the emoji of a heart.
HUG turns that emoji into a more tangible experience with the help of your phone. By placing your phone next to you, the phone’s proximity sensor picks up the length of the ‘hug’ and sends it a recipient’s phone as a vibration of equal length.
The longer you leave the phone next to your heart, the longer the vibrating ‘hug’ lasts. It doesn’t make your phone sprout arms to wrap around your friend or loved one, but it’s a long-distance connection beyond words on a screen.
read the article here : http://www.psfk.com/2015/03/remote-hug-app-peter-kaspar-prinz-google.html?