Social TV Week In Review: Death of TV / Life of WebPosted: October 21, 2012 | |
Another week with plenty of articles forecasting the ‘death of TV’ and as many authors offering their impassioned ripostes. For all this talk of ‘death’, the must read stories of the week talk about ‘life’, or rather the ‘life of Web’. In the multiplatform magazine, Sparksheet, Aymar Jean Christian, an assistant professor of communication in the Media, Technology and Society program at Northwestern University writes, “Viewership for high-budget web shows is growing”. He is quick to temper that assessment by admitting, awareness is still low, but Daniel Leff, a partner at a technology-focused venture capital firm, raises awareness in an All Things D article that suggests, “DecaTV, Awesomeness TV, Machinima, Filmon and others are essentially growing up as Internet TV networks”.
For more news, including stories of Felix Baumgartner’s record breaking jump (8 million concurrent streams!) and an OpenSlate study finding the top 1,000 channels on YouTube already bring in $23,000 a month in revenue, please read on!
Consider television’s strengths: wide-reaching, immediate impact on sales proven through years of media-mix modeling and a universally accepted data provider… Now consider TV’s greatest weaknesses: earned media and long-term benefit. Tracking the results of broadcast marketing is like looking at a heart rate monitor; a brand makes a media investment, impressions shoot up (directly proportionate to the dollars spent), and sales increase. Then as soon as dollars are out of the market, conversation and subsequent conversion drop significantly… More and more brands are using social as a megaphone to bolster broadcast campaigns, driving earned media that boosts the heart rate while lowering the cost per impression… social can allow a brand to monitor and impact the conversation so that the heart rate never drops down…Adam Kmiec brought up social’s lack of data standardization: “Ask how many homes a commercial reached and you’ll get one number, from one source. Ask someone how many impressions a social campaign delivered and you might get four different answers. This creates skepticism.”
In the TV-vs.-tablet battle, a big-screen TV holds many advantages over a handheld device: a larger picture and better sound quality. Even when you look away to read your tablet, you still hear what’s going on. TV audio can deliver the message alone.Yet, I noticed that during lulls in the debate, my Twitter feed got laugh-out-loud funny. When it did, I tuned into to my tablet completely, sharing funny Tweets with a loved one. .. More screens mean more competition for eyeballs—and divided attention. That’s why marketers and communicators have an even tougher job, to win attention for a message.
The Universal Problem With TV Everywhere via Ad Age
TV Everywhere has been touted as the savior of the cable industry; a tool that will ward off threats from the likes of Netflix. Yet, three years after Comcast and Time Warner unveiled the prototype for pay-TV subscribers to watch content via devices other than the traditional living-room screen, the idea is still cloaked in mystery… Verizon is promoting multiscreen services only to those who use Flex View (its VOD service) because Flex View users are more likely to take advantage of TV Everywhere…DirecTV contends that it is marketing TV Everywhere heavily to existing subscribers, but concedes its primary focus is on those products that are revenue drivers and exclusive to DirecTV… Dish Network has chosen not to invest in marketing its TV Everywhere service, focusing instead on brand campaigns and advertising the Hopper… It’s hard to quantify the value of TV Everywhere for multiple-system operators since there are no real incremental revenue opportunities when it comes to getting subscribers to use it.
Social TV will push ‘regular’ TV off the cliff via Successful Workplace
It is becoming much more intentional as advertisers, software and manufacturers realize the risks to the status quo and opportunities social TV brings for investment…Either way, television as we know it is in trouble, not from the loss of viewers, but from the distraction away from the conversation and advertisement that keeps the lights on. Once your attention is divided or the best information is coming from social media, you can turn off the volume, and thus the ads.
Online ‘Involvement’ Propels TV Show Ratings via Media Post
The company says “involvement” measures online discussion, the tone of the discussion (positive or negative), and the sources of that discussion. For example, those sources include news sites, social and Twitter.
Liveblog: The MIPCOM Wrap-Up via MIP Blog
Peter Cowley, CEO, Spirit Digital Media: Cowley pointed out that the problem is often the allocation of money. “Money in marketing is dealt with separately from money in story,” which is what leads to these fights about who should “own” social, digital and second-screen development…“Broadcasters are not set up in a way to harness” that duality, Cowley said. “I think the producers are closer to storytelling and broadcasters are closer to marketing, to moneymaking.”
How social TV is changing in Europe via Lost Remote
I saw nearly every major graphics company providing solutions to get social media content on-air or integrated into broadcast workflows. This is great to see. A year ago this was still a big problem for broadcasters…It seems this stems from the fact that the two anchor social networks (Facebook & Twitter) are not as prevalent in all regions as they are in the US, and if they are, they’re not always used in the same way. Any buzz that is measured, is often in such low qualities, it’s impossible to map it back to any meaningful impact on TV.
“I still don’t think producers, and broadcasters for that matter, are leveraging the data and the ability to monitor audiences early enough in the process,” says Rodger, a long-time TV producer who’s worked on TV-Internet confluence for more than a decade.
Promoting specific hashtags was a unique way for the networks to encourage branded conversations from followers that were watching the debate from their network. NBC used a similar approach in its promotion of the 2012 Olympic Games (#NBCOlympics), which allowed the network to stand out from the clutter.
In the U.S. and Canadian markets, the issue is that most content is provided on a paid, on-demand basis, and tends to live on set-top boxes issued by cable companies, or by third-party hardware makers like Apple, TiVo and Roku. As a result, consumers are less eager to move to smart TVs, since they’ve got the services they need by other means, and the amount of content they can get via the open web easily and without hassle is limited compared to in other regions.
That’s part of why Twitter, for all its notoriety, is used regularly by just 16 percent of the U.S. adult population, according to a recent Pew study. That modest figure belies the media’s frequent comparisons of Twitter to Facebook, which counts half of all American adults as active members. You can debate Facebook’s pros and cons, but its fundamental value proposition is universal: It promises to keep you connected to your friends and family. Twitter, in contrast, remains a niche service… But the average working person would rather relax in front of the TV with a beer most nights than engage in an online battle of wits and one-liners.
How To Get Television Advertising For Free (The $ Value In TV Hashtags) via Business 2 Community
I wasn’t buying airtime (:15 seconds of commercial space, for example), I was buying “sets of eyes and ears” – or I was buying the opportunity to get my client’s brand in front of people giving their attention to the TV show we purchased…Something I noticed about 18 months ago was the opportunity for businesses to generate value by using hashtags (#) on Twitter to participate in conversations around Television shows, and the extreme potential value for small businesses who wouldn’t have the cash budget to buy TV ads in that particular programming…V shows can sell more TV ad space when they have a more committed and engaged audience, which is why so many TV shows now add a Twitter hashtag to the screen to remind and encourage audiences to engage with the show and each other on Twitter, while the show is airing!
SHOWS & NETWORKS
Dish Network subscribers, who no longer receive AMC shows after the two media companies battled over programming fees, will be able to watch Sunday’s season 3 premiere of The Walking Dead online.
The Social TV experience for Univision viewers is getting better with the launch of UVideos, an on-demand online video network that launches Monday…Uvideos strengthens the SocialTV experience by allowing users to comment on shows in real time or if you are watching on-demand, will synch the comments to when the show originally aired. Users can also login with Facebook or Twitter and comments will appear in those channels and link back to the UVideo network.
Frontline invests in interactive video for The Choice 2012 via Nieman Journalism Lab
Frontline’s online materials have always been a support to the main broadcast, but now they want to find more dynamic ways of using the video footage and transcripts. “This site creates a nontraditional form of storytelling,” said Andrew Golis, Frontline’s director of digital media. The transcript and video are meant to work either in concert or separately, with video cues tied to various parts of the written transcript… Like countless broadcast producers, Frontline wants to win with online video in a way that doesn’t lessen its television work or fragment the audience. They’re also enticed by the promise of tablets, a new output that can recapture some of the intimacy of TV while offering a new layer of engagement.
CEO Dick Costolo made it pretty clear what he sees as the company’s future, and it is as a complementary “second screen” for existing media…What seems clear from Costolo’s discussion on Marketplace is that this kind of corporate partnership with existing media outlets, and likely television networks specifically, is where the company’s future lies — for better or worse.
What Twitter is doing now, I believe, is showing us that a real-time social Web service can add value to an important live news event being passionately followed by millions of citizen journalists and millions more readers, viewers, reviewers and analysts. It gives me hope yet for the development of the kind of powerful digital Fourth Estate that many folks thought the Internet could support… If anything, Twitter’s success in leading and controlling a big part of the early “second screen” market will encourage other similar development.
Twitter to become a TV channel via SFGate
Twitter is about to become a TV channel. Believe Entertainment Group, a New York company that put a LeBron James animated series on YouTube last year, announced plans Wednesday to launch “EpicEDM,” the first original content video show to be posted exclusively on Twitter… According to a news release, the show will premiere late this year on its own Twitter page, @EpicEDM. Believe Entertainment will still use Twitter’s promoted tweets products to advertise the show.
Why Twitter fails as a ‘second screen’ for debates via Digital Trends
The reality during the debates is that I cannot possibly keep ahead of the avalanche of tweets. It’s just too fast, as you can see from the video above. There are too many tweets to even read, let alone process and respond to. So many, in fact, that I find myself having to choose: Either watch the debate and ignore Twitter, or just turn off the debate entirely and focus on the constant drum beat of gut reactions tapping away on my feed.
@lindork: Twitter plays huge role in television viewing via Edmonton Sun
“Anyone that’s in film and TV right now who are not using social media, digital media or web-based stuff is literally a dinosaur.”
A veteran TV executive, producer and writer with MTV, VH1, NBC and the Travel Channel on his resume, among other networks, Fred Graver joined Twitter in June and characterized his job as developing the platform as a live-TV companion, a new TV Guide and a new TV rating mechanism at Ad Age’s Social Engagement/Social TV conference yesterday… “I don’t think it’s a Nielsen or a Twitter thing. Or, do you buy on Twitter or on digital or on television,” he said. “There’s a whole ecosystem being described here, and we’ve only begun to map out that frontier.”
Analyzing the Rise to the Red Bull Stratos Jump via Compete
A stunt like this is sure to generate a ton of traffic and enthusiasm for Red Bull. A shot taken of Felix moments after he landed in the deserts of New Mexico posted to Red Bull’s Facebook page have garnered over 500,000 likes, nearly 15,000 comments, and has been shared almost 70,000 times. That’s some pretty prolific branding.
What Eight Million Livestreams Really Means via All Things D
if you’re interested in the future of Web video, YouTube’s ability to serve up eight million livestreams at the same time is a really big deal… that number blows away YouTube’s previous peak of 500,000 concurrent streams, which it hit this summer during the Olympics, as well as last year during the royal wedding of Prince William and Kate Middleton… So it doesn’t take much imagination to envision YouTube doing this kind of stuff, at this scale, on a regular basis. Which would mean the Web finally has a chance to rival TV when it comes to serving up live events with huge audiences — one of TV’s last remaining advantages over the Internet… YouTube proved conclusively yesterday, it can now mount this stuff without breaking a sweat. Now it’s basically a plug-and-play option for any grown-up company that wants to do business with Google.
We live in an age where technology has made a 23-mile space jump distinguishable from an attempt at suicide, and where an energy drink company makes aggressive ventures into space while the United States puts its shuttle program into a museum.
YouTube is still the pesky younger sibling of television, which is the wicked uncle of Hollywood. But the social video site is slowly becoming a formidable medium in its own right, creating new business models and spheres of influence for – literally – a million rising stars…Some of the findings are mind-blowing, like the fact that over one million YouTubers run ads on their content. To put it another way, YouTube writes checks to more than one million people monthly. That’s more than the U.S. television industry employs… According to OpenSlate, the average revenue for the top 1,000 channels is $23,000 a month for an average annual payout of $276,000.
The startup that wants to conquer TV via CNN Money
Sillerman, who made his fortune in radio, got the idea while trying to boost American Idol viewership. (Until last year, his company CKX controlled the firm that makes the show.) The stakes were high: Every ratings point translated to $125 million in additional ad revenue, he says.
TOK Baseball App Brings Voice to the Second Screen via Mashable
TOK Baseball uses second-screen technology for what’s in some ways a more traditional experience. After downloading the free app, you can invite up to three friends to join you in TOK Baseball for a specific game. Once that happens, your iPad will display live-updating stats for whichever game you watch, while enabling you to talk to one another in actual verbal conversation.
ON THE DEATH OF TV
For Whom The Bell Tolls? It Tolls For TV… via Business Insider
What’s currently happening in TV is reminiscent of the first stage of the newspaper industry’s collapse: Viewing behavior is changing, but, for now, the TV industry continues to coin money
Contrary to prognostications about TV dying a slow death as tweens and younger children become hypnotized by YouTube, a new study suggests that consumers’ devotion to TV programming remains strong — even though more of them are watching it online or on tablets.
Has Web TV Reached a Tipping Point? via Sparksheet
Viewership for high-budget web shows is growing, but awareness is low. Industry types have always said the key to legitimizing the web as an entertainment medium was a slate of programs that could capture mass awareness. I’m not sure monster hits can still happen in our age of surplus. I believe online networks have to work on developing shows that grab and hold people’s attention… Yahoo! has been marketing itself as the web network that goes big. It has two, 90-minute, post-apocalyptic dramas from producers Tom Hanks (Electric City) and Anthony Zuiker (Cybergeddon). Yet both of those sci-fi series, while shot with aplomb, have failed to excite critics.
OPINION: THE REPORTS OF SOCIAL TV’S DEATH HAVE BEEN GREATLY EXAGGERATED via App Market TV
Perhaps one of the reasons for the successful deals zeebox has put together has been the fact that Twitter is deeply integrated into the platform – as is Facebook. But my gut feeling is… the real attraction and USP are the zeetags… No one else is making that level of play – zeebox is now ingesting all of UK TV and the TV streams of their American partners in real time, using ACR and other technologies to strip metadata, then linking those tagged properties to Twitter, News, Wikipedia and creating new forms of tCommerce… Forget trying to recreate the interruptive business model of commercial television and port it to the second screen. It’s not going to work. Sorry, but we dealt with internet popups in the 90s on PCs and that’s a leap backwards into the dark.
A New Era in TV via All Things D
We have entered a new era in TV. My parents grew up in the 1950s and 1960s watching broadcast/network TV. I grew up in the 1970s and 1980s watching cable (and satellite) TV. My children and are growing up watching TV delivered “Over The Top” (OTT), or over IP-based networks, and they are doing so on a multitude of devices (TVs, tablets, smartphones, etc.)… All of these changes in video consumption habits and desires — combined with increased broadband penetration and mobile device usage — have led to several evolving dynamics in the pay-TV ecosystem. These include an increase in cord-cutting/cord-shaving (this term refers to a consumer’s decision to completely cancel or significantly reduce their pay-TV package), a dramatic increase in online/Internet TV viewing over the last few years (today, greater than 640 million hours per month) and the creation of a parallel video ecosystem consisting of emerging TV and digital media services platforms as well as OTT/Internet TV Networks… Companies such as DecaTV, Awesomeness TV, Machinima, Filmon and others are essentially growing up as Internet TV networks, channels and/or media companies — each, in large part, developing its own video content focused on specific interest themes and demographic targets.