There are new fanbases to be found on YouTube for digital producers and traditional TV firms alike. YouTube loomed larger than ever before at this year's MIPTV programme market and conference, dominated since it was first held in Cannes in 1965 by broadcasters and producers but which now has a heavy input from multichannel networks (MCNs), digital producers and individual YouTubers.
Trends included a shift in the language and key metrics of YouTube. Alex Carloss, its global head of entertainment, suggested the online video giant's power is less about audiences and more about fans. "An audience tunes in when they're told to, a fanbase chooses when and what to watch. An audience changes the channel when their show is over. A fanbase shares, it comments, it curates, it creates," he said.
Michael Stevens of science network Vsauce agreed: "You can build a really big audience on YouTube: they show up, they listen. But a fanbase is going to subscribe and watch everything you make in the future, and tell their friends about you."
MCNs and YouTubers haven't stopped boasting about their view counts, but there was more emphasis on subscribers, comments and shares, and average viewing time for videos: a focus on how engaged YouTube users are, particularly teens and twentysomethings. TV producers are following the migration of these "millennials" to online video. "Every year it gets harder to launch a successful show that attracts a younger demographic, so we have to find them elsewhere. Looking to digital content is crucial," said Keith Hindle, X Factor co-producer FremantleMedia's digital and branded entertainment boss.
This is fuelling new partnerships: Vice Media and Fremantle launched a food-focused online video channel called Munchies at MIPTV, for example, which eschews studio cook-offs and familiar TV chefs. "The reason young people are leaving TV is they don't do things like this: take chances, switch things up, and give the cameras over to 24-year-old kids. TV missed the boat on this kind of content," said Vice CEO Shane Smith.
read the rest of the article : http://www.theguardian.com/media/2014/apr/13/miptv-conference-multichannel-networks-mcns-youtube-tv-cannes?CMP=twt_fd
source of article : http://dejanseo.com.au/google-plus-study/
I tried Google+ but it looks like nobody is using it yet, why should I spend extra time on yet another social network?
Google has been aggressively attempting to diversify away from search. Over the years they’ve come up with a number of promising products in a sea of failed experiments. When Larry Page took charge of Google’s direction once again, we witnessed a sudden shut down of unviable products. What followed was profound integration of Google’s products services into a single unifying platform.
At the centre of all that action was Google+ which now fuses most of their key products and services including Search, AdWords, Gmail, YouTube, Drive, Picasa, Places, Android, Chrome, Maps and Earth.
A good portion of content on Google+ is selectively shared, which has lead many marketers and journalists into writing “ghost town” type articles, only to show their own lack of understanding of how Google+ really works.
An example of this phenomenon could be a user with multiple interests or languages. They may choose to share certain posts with specific circles based on language or topic. Selectively shared posts are not be visible to all users or search engines, but do appear in Google’s personalised search results for those in appropriate circles.
Google+ wants our real names but short of asking everyone for a copy of their ID on sign up, there is no way to tell if I’m really “Dan Petrovic” or “Hannah Blair”. I’ve been recently told by a Googler that from an engineering point of view, this isn’t really an issue.
The problem is in canonicalisation of individuals. One can have many aliases and nicknames on the web which leads to entity fragmentation.
Search engines have a hard time dealing with this problem. Closest we’ve ever been to real identity on the web might be Facebook profiles. Facebook’s deep web, however, remains permanently out of Google’s reach. Twitter is not playing ball either. So Google+ solves yet another problem and that is the one of a clean social graph. Even if your Google account name is not your real one, if you use it consistently across different platforms you give search engines something they can work with. Have you used “Sign in with Google” in the past? If so then you’ve already helped Google understand who you are outside of Googleverse itself.
There’s also the notion of the “index of one” or as I call it mendex which completes Google as an ecosystem and takes the search engine to the next level. We’re seeing glimpses of anticipation-based, query-less results in Google Now.
More Google knows about us, better they can serve us. This of course does include better and more efficient ad targeting at the same time. The right place and the right time? Add the right context to that and you have a winner. An ad for a local restaurant pops up while you’re on your way to the office from a meeting around lunch time, the restaurant was chosen based on the proximity, eating habits and reviews by people in your circles.
In summary Google+ is Google’s:
When Lady Gaga or Mashable post stuff on Google+ it immediately receives hundreds of +1s, comments and reshares due to the number of people who have them in circles. Posts like that often end up in the “Hot & Recommended” section, propelling it even further, perpetuating the effect and their status. This behaviour is predictable and uninteresting.
One phenomenon that really fascinates me is organic virality, or in other words, when ordinary people and brands make a big splash with a special piece of content. Although not the only platform (Reddit is also a good one), Google+ seems to enable great content to be seen by many through a whole array of interesting mechanisms.
As a marketer, I’m fascinated by these ‘content propellers’ and more importantly by specific qualities or content which goes viral on its own merit and not because it was seeded by an influencer.
I will now present two such cases, one for Dejan SEO page and one for my personal profile post.
Here is one “uncharacteristically successful” post with signals many times over that which I consider an average interaction on our page’s content. An average post by Dejan SEO page is seen by approximately 2000 people from which 20-30 may engage in some way. A quarter of a million impressions represents a significant deviation from the norm.
Pro Tip: Image posts contain one valuable piece of statistics other post formats do not, impressions. So if you’re keen to see how many people will see your post on Google+ then share in an image mode.
I analysed this post in detail in hope to understand why it very viral. Naturally it all starts from the content itself, the story had to be exciting enough to start with. Being interesting alone is not enough in most cases as many potentially viral posts simply die out in its infancy while other, more influential channels may hit the critical mass instead.
I’ve noticed that posts in which I show enthusiasm and excitement tends to do better. Examples: YES! Finally! WOW! OMG! Whoa!
Simple, shorter post messages tend to trigger wider reach in terms of +1s and reshares, while longer posts often see more activity in the comments section.
Google+ has just the right amount of ‘pinterestness’ to it that it can safely be called a visual social platform. Some of the most followed users on Google+ are photographers and top posts by user engagement are almost always image shares. Knowing this, and the fact that I get the impression data, I chose to include a screenshot form Nerdy Data instead of sharing it as a link. There is a debate whether Google+ purposely promotes image shares in comparison to other formats or the effect we’re seeing with image shares is purely human nature. One thing is for sure, image posts tend do rather well on Google+.
Having great news, being excited and sharing a photo of it still doesn’t answer my question. Why did this post go viral?
Ripples are one of my favourite methods of investigating content visibility and distribution on Google+. In the example below we’re seeing three main influencers: TECHNICS, Victor Lava and myself. There are also several other, smaller share clusters.
We’re seeing a sharp viral burst and rapid fall with the longest chain at an impressive seven consecutive shares. On average I see about 2-3 consecutive reshares. Primary language among those who shared this post was English.
TECHNICS having been one of the driving factors is hardly a surprise considering their profile strength. The page has 180,000,000 views, 120,000 followers and an incredible engagement score of +900,000 leading to constant presence in the “Hot & Recommended” section.
Victor Lava, however, was a surprise. With only 536 followers he made as big a splash as TECHNICS. The key to his influence was the membership in the HTML5 community which at the time had more than 120,000 members. The post resonated within the community rendering Mr. Lava a sensational influencer on the ripples graph.
Shame he didn’t get his name attributed to all the reshares which followed. Or is it?
Pro Tip: If you have a great piece of content share it as your page first (or whichever asset you’re looking to promote).
Every reshare of the original post will then contain your brand name, a link to your page and a hovercard. This can lead to brand discovery, brand reinforcement and new followers. We’re grateful to Victor for exposing our brand to many thousands of HTML5 community members.
Communities on Google+ are a device for segregating special interest groups from the rest of the social stream. Running a community or being an active participant of one can have a great impact on your status and reputation on Google+. Brands can also create, be members and engage on third party communities which acts as an additional funnel of content discovery and brand visibility.
Pro Tip: Page’s community engagement including the member count is a contributing factor to page’s overall social score.
Despite this, our community strategy has been that of extremely strict approval process and rigorous moderation in order to attract and keep the type of people we really want to have in the community.
I wanted to gain deeper understanding behind the success of the Nerdy Data post and decided to analyse the full list of contributors including both shares and +1s. Unfortunately I bumped into a logistical problem. Google+ posts only show a sample of 50 engagers, which means that you have no chance analysing any of your successful posts within Google+.
Luckily there’s an API explorer which enables you to query the full user list. Here’s the URL:
The ‘activityId’ is not visible in the post URL but can be retrieved from the ripples URL instead (alternatively use Google’s API Explorer). In the collection select an appropriate activity (e.g. plusoners) and hit ‘execute’.
The output will contain a full list of people who have +1d your post. Keep note of the nextPageToken, you will need it to query each new set of the results until the full record has been retrieved via API explorer.
Credit: Lee Smallwood
Once you retrieve and format your data (I made a script to do the whole thing) you will be able to show a full report on users who have contributed to the success of you content.
Top sharers by number of followers.
Pie Chart of Sharer Follower Distribution
Looking at this data I get a sense for ‘virality share credit’ from each of the listed users and couldn’t but wonder how my initially observed factors may have influenced on everyone’s decision to share:
While Google still maintains that +1 has no direct impact on organic search, I know for a fact that it’s by no means an arbitrary signal. From what I have seen +1’d posts are distributed to a ‘dynamic fraction’ of user’s followers on Google+ and I say dynamic because I’ve seen it shift in terms of impact and prominence, likely due to interest velocity (something for me to test later on).
It’s only after querying the full list of ‘plusoners’ and querying their follower numbers that I understood just how much of an impact +1 has had on the success of our share.
In the image above you see the list of users and pages who have shared our post, sorted by number of followers. I realised the sheer impact Radhika Subramanian’s +1 had on the post:
The success of the post can be attributed to the following factors:
The impact on our page included increased social number (+1’s, reshares, followers), increased followership and personalised search visibility, brand introduction and reinforcement and finally forming a relationship with the owner of the shared asset.
In a similar study I focused on one of my non-commercial content posts and analysed the reasons behind its success as well. Here are the results:
Detailed write-up is available here. The only item I wish to highlight in this article is my use of #foodporn. Hashtags on Google+ are not only a way of tuning into a semantic stream and enabling interest-based content discovery, but also a way to create your own browsable, gallery-like collections.
The post above illustrates a relatively new link share format which when triggered (og tags) manifests in a more visual way, almost like an image share. Unfortunately links to pages in this case include rel=”nofollow” which is contrary to what Matt Cutts said might happen on Google+ after I enquired about them nofollowing and PageRank sculpting.
Use public posts whenever possible to get any SEO value. Selectively shared posts don’t count in the non-personalised link graph. We actually tested this and found that selectively shared posts appear only in personalised search results.
We also tracked the rate at which Google+ posts appeared in Google’s searches for the same set of queries and found the rate to go through the roof after 11 of November 2011. Googlebot, strangely, crawls Google+ like any other web asset instead of simply absorbing the information internally. Many strange URLs end up in Google search as a result.
Using methods similar to the ones described earlier I analysed my blog posts, again selecting those which seemed to be uncharacteristically successful, ranging from 103 to 440 +1’s:
407 – Google+ Interactive Posts
440 – First Google Webmaster Tools Update in 2014
152 – Entrepreneurial Search
266 – Everything you type is recorded
203 – The Biggest SERP Flux Since Penguin 2.0
131 – Google Helpouts: AdWords is OK, SEO is Not
103 – Little-Known Gem of Google+ Engagement
241 – The Art of Link Earning
120 – How to get 25,000 +1′s and PageRank 7
405 – Google+ Custom URL: Here’s what happens
Misleading Title. Hack.
I found three major ways something reaches above average popularity. While some posts are completely self-propelled and require a lot of promotional work and energy, others manage to trigger fans and special interest groups. This typically happens when a special topic or issue is being discussed which at the time resonates within the community. What I’m seeing is a fairly even post distribution with no major influencers involved. This mode of sharing is interesting to me as it reveals content and engagement value in itself and does not rely on well-known people to share it to be successful as we can see at the top of the ripple graph collection:
Investing in consistent post format and style pays off in terms of engagement and recognition. Here is a mock-up image I shared with my staff a while ago to illustrate a possible post format:
Naturally ‘don’t be a jerk’ rule applies universally. Avoid spamming people with notifications and requests.
Pro Tip: Funnelling your blog traffic discussion to Google+ is a great way to increase followers and engagement. We typically use in-text call to action:
Ross Hudgens has recently covered Copyblogger’s tactics and their growth impact due to discussion funnelling:
Another great way to spark up engagement on your Google+ page is to embed Google+ posts in your content. This allows your readers to quickly jump into discussion, +1 or follow your page. For extra geek points link directly to the post ripple URL as I did in this post.
Hangouts on air (HOA) have been one of the major driving factors in the success of our brand on Google+. Running hangouts takes a lot of time and energy but rewards with increased user engagement and is an excellent content generation mechanism.
So far we’ve had several hangout formats including:
1. Industry Guests (Guest Speaker + Panel)
2. Featured Software (Guest Speaker + Panel)
3. Special Agenda / Topic (Speaker + Panel)
4. Random Acts of SEO (Panel)
5. Celebrity SEO Audit (Panel)
6. SEO Challenge (Quiz Format)
read the rest of the study : http://dejanseo.com.au/google-plus-study/
When it comes to social media, any promotion of your content can be good. One of the basic concepts of classic advertising is that brand awareness (e.g., hearing a brand’s name over and over) can help customers keep you top of mind the next time they need a specific product or service that you offer.
Content is one of the best tactics to help you get more exposure. But, no matter how well-written a blog may be, it will not be successful unless people are talking about it. For the successful marketer, utilizing a three-pronged approach to get people talking will not only get your content more exposure online, but will assist in growing your brand presence and recognition.
Promoting your own content is just as important at writing it. Because search engines now factor social signals into their search results, it is crucial to combine your content and social media marketing strategies to create a cohesive front that both promotes your own content while also sharing resources that make you an asset to your target audience.
All organic social promotion campaigns should include:
When it comes to content, these types of tiny social media optimization tactics can help increase your exposure.
read the rest of the article: http://marketingland.com/your-necessary-three-pronged-approach-to-content-promotion-55504
Digital platforms such as YouTube and Google Search are changing the way people experience television. With 90% of TV viewers visiting YouTube and Google Search, we looked at how they are using these platforms to extend their experiences beyond their television sets. Here we detail the importance and growth of TV-related research online, the prevalence of fan engagement through video and the role of catch-up sources to extend the viewing time frame.
Digital platforms are changing the way today’s viewer experiences television. From sharing the new viral Jimmy Kimmel Live video to watching the promo for the premiere of The Walking Dead to searching for the actor who plays the funny cop on Brooklyn Nine-Nine, one thing is clear: There are more ways than ever for TV audiences to research, participate in and access television content.
With 90% of TV viewers visiting YouTube and Google Search, we looked at search activity, video views and engagement metrics to help us understand how viewers are using these platforms.1 Looking at a broad sample of 100 network and cable shows, we found that the corresponding online behavior is a clear indicator of a show’s popularity, as evidenced by a positive correlation between these activities and live plus three-day viewership. In this paper, we examine how viewers engage with and seek out these experiences on Google and YouTube, as well as the insights we can gain from their activities.
TV-related activity on Google and YouTube has grown year-over-year (YoY). Not only have searches across Google and YouTube grown, but there has also been a rise in video views, watch time and engagement on YouTube from 2012 to 2013, suggesting that TV viewers are increasingly using these platforms to interact with fellow fans and engage with a show.YoY Increase in TV-related Activities on Google and YouTube
While viewers continue to turn to multiple devices for television-related content, the query growth across Google and YouTube in the television category is driven by mobile and tablet, exceeding 100% on both of these devices.2
Online research: When, what and how
The changing face of television viewing has given way to new behaviors such as viral video sharing; audience-generated supplementary content; online streaming and use of catch-up sites such as Netflix, Hulu and networks’ streaming offerings. One thing remains consistent, though—a viewer's desire to gain basic information about a show before tuning in.
Trailers, reviews, cast information and premiere dates are all common but essential types of content sought by viewers. Gathering this type of information is an important step in deciding whether or not to watch a show: Two-thirds of viewers of new television shows search online before tuning in.3 Overall, both Google and YouTube serve as key destinations in the television viewers’ decision-making process. Our analysis of Google and YouTube search queries and YouTube views show positive .72, .74 and .67 correlations with live plus three-day viewership, respectively.4
Let’s take a closer look at Google and YouTube search and viewing behaviors, specifically the when, what and how of seeking information and content:
When: We see that queries for fall television programs begin during upfronts and continue beyond the premiere, with increased activity during key show announcements and summer TV tentpoles such as Comic-Con and the Television Critics Association Press Tour (TCAs).When TV Viewers Are Searching
Although this trend holds true for most shows, there are a few differences worth noting. New shows see spikes during upfront announcements, and then interest builds again about two months before the premiere date. Returning shows, in contrast, see sustained volume throughout the off-air period. Although new shows generally have fewer searches than returning shows, they have twice as many queries, on average, for promos, ratings and reviews. This suggests that users may be doing their homework prior to tuning in.
In addition, there are a few genre differences worth noting. From a trending standpoint, there is more activity earlier on for dramas and comedies. Queries for reality programs pick up in the few weeks leading up to premiere and are sustained post-premiere. In examining search intensity (queries/live plus three-day viewership), serialized dramas—especially teen dramas such as Vampire Diaries and Arrow—have the highest search intensity, followed by comedies and reality shows. Procedural dramas, in contrast, have the lowest search intensity.5
What: Outside of a show's title, some of the most common TV-related search terms include season, TV show, network and cast modifiers, among others. Of these, we see that some are sustained throughout the premiere timeline, while others are concentrated to parts within it. For instance, promo queries spike at upfront week and tend to start building again about two months pre-premiere. Premiere-related queries are concentrated in the weeks leading up to and immediately following the premiere. Ratings and review queries, on the other hand, tend to be concentrated during premiere week and the weeks after it.What TV Viewers Are Searching For...and When
One important component of what users are searching for is trailers for new shows. In addition to being frequently searched, the trailer is the most watched piece of content for new shows on YouTube, whereas videos viewed for returning shows are more varied in nature.6
"In addition to being frequently searched, the trailer is the most watched piece of content for new shows on YouTube."
How: We examined 17 categories of Google Search queries across devices and discovered that intent can vary by device. For instance, cast, premiere/finale and plot-related searches regularly occur on mobile devices relative to other categories, suggesting that users often seek quick bits of information on a small screen. Alternatively, watch-related queries on Google Search are overwhelmingly searched on desktop and tablet devices, highlighting a preference among users to consume longer content on larger-screened devices.How TV Viewers Are Searching
Viewer participation: Going beyond the episode
For a core group of fans, a 22- or 44-minute TV episode isn’t enough. Whether it’s seeking additional content offline (such as the live talk show Talking Dead that discusses episodes of The Walking Dead) or online (network websites or industry sources such as imdb.com), TV lovers are looking to further engage with their favorite programs through “beyond-the-episode” content such as parodies, behind-the-scenes clips, and extended trailers found on YouTube. To better understand their online experience, we look to YouTube engagement metrics (i.e., shares, likes/dislikes, comments, subscribes), which collectively show a positive .58 correlation to live plus three-day viewership.7
A key behavior among YouTube users is the propensity to discuss their favorite shows and create new related content. Indeed, in 2013, for every piece of content uploaded by a show’s network on YouTube, there were more than seven pieces of community-generated content related to the show. Some fan favorites far exceed that benchmark: Game of Thrones, for example, had 82 community-generated videos per video uploaded by the network and The Vampire Diaries had 69.8
These same fans are not only engaging with this content but also looking for ways to share and discuss it with a community of like-minded fans. An example of this collective enthusiasm can be found in YouTube’s subscriber community. Overall, they tend to watch 52% more video than those who don’t subscribe.9 And because they watch more video overall, they’re often the first to discover content.
A popular late-night talk show’s highly viewed YouTube video that reached one million views in less than 18 hours exemplifies this phenomenon.10 We can see that subscribers comprise the majority of views right after the video goes live, but over time, discovery sources begin to shift as these initial viewers (the subscribers) share the video with others. As views from subscribers begin to taper off, direct links, YouTube searches and other user-controlled discovery methods take over. This highlights the importance of a strong subscriber base because subscribers are often the first to see and subsequently share content.Viewership Pattern After Posting of Popular Video
It’s also a reflection of a larger trend on YouTube—overall, the platform has seen a 3x increase YoY in daily subscribers.11 Additionally, TV networks have been gaining subscribers for their official YouTube channels at a blistering rate, with an average per-channel subscribership increase of 69% from the beginning to the end of 2013.12
Accessing content: Extending the viewership timeline
In the past few years, we’ve seen a shift in measurement as metrics have evolved to capture longer viewing windows. This reflects not just a change in user behavior but recognition that there is considerable value in time-shifted viewing. With shows seeing a marked increase in viewership numbers across genres in the three days following a premiere and between seasons, tune-in is now happening across a much more extended timeline.
One significant trend is in-season catch-up behavior. DVRs, new streaming options and watch apps provide viewers with greater flexibility than ever to watch the content they want, when they want it. Search patterns also reveal a rising interest in this notion of "TV on my time." Queries on paid streaming providers such as “Amazon Instant Video” or “Hulu Plus,” have increased 16% YoY, while watch app-related queries, such as “HBO GO” and “AMC mobile,” have increased 35% YoY.13
Catch-up behavior is not restricted to in-season activity. If given the opportunity to catch up on a show before a new season, 78% of viewers would be more likely to tune in to the upcoming season.14 Query trends also reflect this sentiment: in the pre-premiere time frame, watch-related queries have increased 50% YoY, signaling intent to catch up on previous episodes before a season premiere.15 So when do viewers start catching up? Of the 70% who said that they catch up on past seasons of returning shows, approximately half start more than two months in advance.16
Day of week can also play a role in catch-up activity. Because viewership patterns show greater preference for time-shifted viewing of dramas, we analyzed pre-season search patterns for a set of dramas and found that catch-up-related queries tend to spike on Sundays. This "lazy Sunday effect" suggests that Sundays may be the most popular day of the week to both stream and catch up on shows.
Pre-Premiere, Daily Query Trending for Hit Serialized Dramas Catch-up Related Queries
Source: Google Internal Data, May–August 2013, United States.
As networks and streaming providers create new ways for viewers to access programming outside the traditional viewing window, they’re creating the opportunity for new viewership as well. Understanding the patterns of how and when viewers are researching catch-up options is important in recognizing key moments of tune-in engagement.
Digital platforms have fundamentally changed the way TV viewers research, participate in and access their favorite shows. Search, video and engagement activities, which show a positive correlation to viewership, can provide additional insight into a show’s popularity. Here we summarize our key observations across Google and YouTube:
A YouTube Masterclass for content creators. YouTube has become an unparalleled broadcasting powerhouse, with over 4 billion video views per day. Find out how content creators use it as a launchpad with their creative strategy fundamentals. MIPTV's essential guide teaches you the basics for thriving in the digital world.
source of article : http://www.thealist.net/content.asp?PageID=1
After spending much of the past decade financing movies, Ryan Kavanaugh is expanding heavily into the advertising arena, launching Madvine as an in-house agency that will manage the entire marketing campaigns of brands like Evian while also integrating corporate clients into Relativity Media’s film, TV, digital, music, sports and fashion businesses.
Madvine has already signed French bottled water brand Evian and Mondelēz International, which owns Oreo, Trident and Stride, as its first clients. Other brands in Mondelez’s portfolio include Cadbury and Milka chocolate, Nabisco biscuits and Tang.
Madvine will be run by former Coca-Cola marketing executive Danny Stepper and producer of Disney’s “Goal” soccer film series, which were funded by Adidas. Relativity and Stepper also have helped Coke launch new energy drink Arriba through a separate partnership, which could expand to have more of the company’s brands work with Madvine in the future.
Evian and Mondelez have inked multi-year deals — spanning three to five years — with each spending considerable coin worth millions to pair up with Madvine and Relativity’s projects.
Taking it one step further, Relativity is now actually Evian’s advertising agency of record, with Madvine handling the company’s entire marketing budget as it looks to entertainment as a way to reach out to younger consumers for its water.
Relativity said Madvine’s mission is to disrupt the traditional advertising and product placement model and bypass third-party agencies to connect brands directly with entertainment produced by Relativity.
“The traditional model for brand-content integration is poised for disruption,” said Stepper. “Through our multi-platform approach, Relativity has the unique ability to offer ubiquitous opportunities for leading brands to reach global audiences through our content and distribution platforms.”
Relativity is essentially selling brands deals to become the exclusive category partner that includes automotive, banking, liquor, clothing and shoes, for example. Once they sign on, they’re involved at the development stage of projects. If a new drink is being launched, the beverage could be teased in a movie, seen on the red carpet of its première, then gain more exposure in a TV show, digital series and while in the hands of athletes who can promote it across social media platforms and be seen using it on the bench at a sporting event. It’s transmedia on steroids.
At the same time, Madvine has a team that gets new products like Arriba prime exposure in stores like Walmart, Target, Walgreens, Kroger and 7-Eleven.
Working with a newcomer like Madvine is a potentially risky move for companies. But for many marketers, it may be a risk worth taking, considering that traditional product placement deals, promotional partnerships or even advertising on TV isn’t giving brands the kind of exposure they often believe it can.
At the same time, Kavanaugh has smartly admitted he doesn’t know all there is about advertising, turning to the Dentsu Aegis Network, one of the largest advertising conglomerates in the world, to provide the kind of advertising services brands may still need. Dentsu’s Story Lab will work with Relativity to find ways to work brands into projects early on in their development.
“We want to recreate the wheel, but some of this still involves traditional advertising,” Kavanaugh said. With Dentsu Aegis, “we’re giving (clients) a familiar home where they should still get the same services from an agency as they had before.”
Brand reps like Angela Courtin, president of Aegis Media U.S., said marketers have no choice but to work with new ventures like Madvine. “They need great content because consumers are tuning out of traditional advertising,” she said. “Relativity is providing them with a great opportunity to bridge branded content because they’re going directly to the storyteller.”
Hundreds of millions of views. Millions of shares. On Tuesday Advertising Age honored the world's best brand storytelling at the fifth annual Viral Video Awards in New York City.
For the second year in a row, Samsung took the crown as most viral brand, while Los Angeles-based 72andSunny made agency of the year by grabbing the most views over the past year and the most videos on the Viral Video Chart. The most-watched single campaign was Dove's "Real Beauty Sketches" which finished the year with 138 million views, according to Visible Measures.
The VVAs, hosted this year by Saturday Night Live alumn Rachel Dratch, also honored your choice for the best in branded video: Poo Pourri's "Girls Don't Poop" took best comedic spot; WestJet's "Christmas Miracle" was judged best viral stunt; and TrueMove H's "Giving," a video that came from the Phillippines, and named "most important message" of the year.
As in all other Viral Charts, these campaigns are measured across all platforms with different versions, responses and iterations included. Excluded are game and movie trailers not because they aren't ads but because they'd overwhelm the chart each week. With that, here are the winners:
Branded entertainment is helping fuel a golden age of advertising. Creativity and experimentation are flourishing, but they have not been informed by real data on what works and what doesn’t.
source of the article : http://www.fastcocreate.com/1683148/measuring-the-impact-of-branded-entertainment
The last year was a big one for marketers. As technology continues to drive shifts in consumer behavior and media consumption, brands and advertisers are justifiably excited about the emerging new ‘Golden Age’ of advertising yet anxious about their lightening-fast departure from the tried and true. Brands, media companies, and entertainment providers alike have seen creation and distribution barriers collapse, age-old media models get undermined by cat memes, increased pressure to make a dollar go further and a rightful sense of risk aversion, post-recession.
Whether driven by excitement or anxiety, the new media landscape has led to a frenzied amount of activity. Brands have begun to react in every way imaginable—often simultaneously. Do I buy more TV spots, but with Hulu instead of Fox? Or could I just create my own series and put it on YouTube? What if I make my own music festival? We should still do a Super Bowl ad but make it longer. If this celebrity is my creative director, that will give me cultural and social capital, right? Or what if I drop a man from outer space?
This is an era of experimentation and learning. Experimentation and risk-taking are healthy and necessary for our industry—and can yield great results—but there are far too many instances where we watch brands take risks with only one eye open, wait for the dust to settle, and then tweet for days about “did it work?” But how are we defining success? Do brands have any assurance that the programs they build will lead to positive business impact? There is a clear understanding of a need for change, a demonstrated shift in how things are changing, yet the industry is lagging in the development of a common framework, language, and criteria for how we link a new golden age program with the successful advancement of a business.
To tackle this, OgilvyEntertainment—with the help of broadcasters, producers, brands, and advertisers—developed the Ogilvy Branded Entertainment Assessment Model™ (Ogilvy BEAM™), a strategic framework intended to provide an industry standard for design, implementation, and measurement of branded entertainment programs. “Big ideas are usually simple ideas,” David Ogilvy said. Instead of reacting to newfound industry complexities by adding complexities in program design and measurement, Ogilvy BEAM™ keeps it simple with the following four steps:
The framework is followed by a standard index-based scoring method, allowing programs to be compared over time or across mediums.
By applying a methodology such as Ogilvy BEAM™ to branded entertainment programs, not only are we linking the new age of media to the age-old mission of growing a brand’s business, but we are also developing a consistent language, approach, and basis of comparison through which we can improve the effectiveness of our work over time. This helps us move from seeing branded entertainment as an exciting or anxious departure into viewing it as a trusted discipline.
Linking branded entertainment to brand strategy enables us to see the fruits of our labor, quell the anxiety that change fosters, and revel in the excitement that lies ahead.
Eddie Burns is Content Manager for OgilvyEntertainment and co-author of “Making magic, using logic. The Ogilvy Branded Entertainment Assessment Model™”
[Spotlight on Microphone: Dwphotos via Shutterstock]
read the rest of the article : http://www.fastcocreate.com/1683148/measuring-the-impact-of-branded-entertainment
U.S. revenue growth for experiential/event-marketing agencies in Ad Age’s Agency Report 2013. Check out the full report and rankings.
Not all content is equal -- at least when it comes to trust.
A new study conducted by Nielsen on behalf of InPowered, a technology startup, found that consumers are actually quite sophisticated in how they utilize different sources in the buying process. And they, in fact, favor third-party articles by journalists (what the research calls "trusted content").
At the same time, the data raises serious questions over whether native advertising threatens to upend this trust publishers have earned with their audience. This is a particularly prickly issue as it could become harder for readers to discern ads from editorial.
According to the Nielsen/InPowered study, 85% of consumers said they seek out "trusted content" and 67% said it drives their buying decisions. These same articles created a 15% lift in purchase intent vs. 10% for user-generated content like reviews on Amazon and only 8% for branded content on company/product web sites.
However, notably for native advertising, more than 60% of consumers said they were less likely to trust a product review if they know it was paid for by the company selling the product. And the study also calls into question whether overtly-branded, one-sided content marketing programs can succeed in a stand-alone format. Some 50% of those surveyed said that they do not trust a brand's own website for an unbiased assessment of a product.
The Nielsen/InPowered study of 1,000 consumers was conducted in a controlled lab setting in Nevada. It covered multiple categories, including autos, electronics, financial services and household durables. It will be released in full at ad:tech later this month.
While seemingly positive for journalism, the research underscores the delicate balance that is now in place as advertisers try to become publishers either in their own right or in sponsored-content partnerships with the media. And it could challenge the conventional wisdom that marketers don't need the press when they can go direct.
This sets up the "Great Native Narrative" for 2014 -- and perhaps beyond.
Can media companies find a way to elevate sponsored content so that it becomes more trusted than basic advertorials and a near equal to journalism? And, importantly, can they do so without whittling away the relationship they have with their audience, not to mention their journalists?
Meanwhile, on the other side, can brands adapt the current content-marketing paradigm as they invest in their own channels so that they aren't as self-serving? And will they be willing to make such an investment given the trust hurdles they need to overcome to get it right?
Read the rest of the article : http://adage.com/article/steve-rubel/native-narrative-2014-quest-trust/292132/