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Michael Eisner: Web Video to Surpass TV - TVWeek - News
Tags: Eisner on 2008-10-11 -All Annotations (9) -About
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content creators shouldn’t wait for advertisers to jump into Web video.
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the maturing industry will be led by distributors who can navigate the unfamiliar online territory for audiences, letting viewers know when they can find new programming. In time, that programming will also bring in bigger numbers than anything on TV today, he said.
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"Sex seems to work. Sports works, news works, politics works. Sarah Palin's working pretty well," Mr. Eisner said.
Mr. Eisner said he sees online video developing like any other broadcast medium.
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"You start out with nickelodeons and pornography that everyone pays to go see, and you eventually end up with Ben-Hur. It's the same thing that's happening, and I think people with the foresight are the people that are going to say, 'Even though there's no market, let's jumpstart and encourage original product to be made.'"
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Considering the benefits of instant syndication and worldwide distribution, Mr. Eisner thinks an online original with sufficient star power and a limited viewing window will garner more viewers than anything on a major television network.
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Once an online original airs that gets 200 million people a week, there will be such an exodus from NBC, CBS, and TBS that advertisers will be lining up at Veoh, and Break and YouTube, Mr. Eisner said.
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Mr. Eisner also lauded the benefits of targeted, interactive advertising, maligned the 30-second pre-roll, and declared that television is over—but that doesn't mean it's dead.
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"The movie business didn't end when TV came in. ... Broadcast television isn't going to be watched by 300 million people, it's going to be watched by 50 million, which is okay. It's still a big business, and it could be the biggest business for the next three decades.
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"You can be too early, or too late, but somebody is going to be the big winner. And it's not going to be just one person. It's going to be content people, it's going to be a distribution platform with staying power. .
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YouTube Adds Full-Length CBS Content - Advertising Age - Digital
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CBS will sell the ads and YouTube will get a cut of the revenue,
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CBS's video distribution strategy, including this new one with YouTube, has been one of syndication -- doing deals with many sites but using technology that allows it to serve advertising to those sites. Under the strategy, about half of its web-streaming traffic comes through its distribution partners asopposed to its own site, CBS.com. CBS didn't partner with NBC and Fox on Hulu because it doesn't want to give up 30% of the revenue it would have generated, as per Hulu's required split; CBS instead has done some 80%-20% revenue-share deals with its partners.
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Cálico Electrónico se ofrece a los anunciantes para acciones on line - MarketingNews
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Cada día pasan por la página más de 30.000 usuarios únicos con un perfil mayoritariamente masculino y el 80% de ellos entre 15 y 30 años, con sesiones de más de 10 minutos de duración
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Además de la publicidad convencional de banners, Addoor ofrece el patrocinio de las series animadas: de una cápsula (webtoon de dos minutos de duración), de un capítulo (diez minutos) o una temporada entera; así como el patrocinio de zona fans y de los juegos. También se pueden realizar todo tipo de creatividades, desarrollos tecnológicos y acciones de marketing viral con la participación de Cálico.
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David Trueba dice que el cine en España es ´decadente´ por culpa de la tele - Cultura - La Opinión de Tenerife
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El director de "Soldados de Salamina" cree que el cine español carece de las productoras independientes que surgieron en los 90 y que el dinero de los ejecutivos de la televisión ha impuesto una situación "decadente" en el cine actual, reflejo de la calidad de sus parrillas televisivas.
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Interview: Blockbuster CEO: Skeptics Aside, Confident Of Physical’s Digital Future | paidContent.org
Tags: no_tag on 2008-10-06 and saved by2 people -All Annotations (16) -About
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The at-home is dominated by VOD and Comcast (NSDQ: CMCSA). Netflix, Amazon (NSDQ: AMZN) and Apple (NSDQ: AAPL) together are very, very tiny fraction of the $3 billion market right now. Really, where all the money is, is in store. There’s a $25 billion industry in store. There’s an $8 billion industry by mail and we’ve got a healthy piece of that. Vending, kiosk and online are nowhere yet. They’re just barely starting. So, when we pull back on our by-mail, it’s only because we realize we were driving all the growth in by-mail. We said, ‘You know what we’re doing? We’re taking people out of the $24 billion in store segment and we’re forcing them into this smaller by mail segment. We’re spending a ton to do that. Why don’t we just stop trying to buy customers with advertising and banner ads and everything else and let’s just show our customers the advantage of going cross channel,’ because the big advantage versus Netflix.
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It has a server on board and it has full capability to do digital download and that’s critically important because as this transition occurs from vending to digital download, there are going to be many customers that want both. I want a DVD for my kids to throw in their DVD player in their room, but I want to download a movie to take on the airplane with me on my Archos device or on my PC. We’ll be able to provide that flexibility of use occasion that our customers have
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Those who are only in one segment will only be able to satisfy one use occasion
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Imagine in the future the ability to have the entire library captured on a kiosk. Some of the stuff is very, very slow moving and it takes a lot of very expensive real estate. So, think of it as a satellite system for stores that extends the reach of Blockbuster and makes it more convenient for our customers to get DVDs.
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Is there any real urgency for us to go out there and create a whizbang set-top box? No
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Are we interested long-term in being in that space? Sure
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Our product is in the VOD window so it’s much newer, much more robust title selection.
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The idea is that as a customer, for example, I use in store, I use by mail, I’m going to jump on an airplane, I load a couple of movies on a PC and I can watch them on the plane. I may be at home and I don’t feel like going to the store to exchange the total access DVD. So, it really is just another use occasion, another point of access for our customers to have convenience and assortment in what they want to watch. Now, if I’m a Netflix customer, I can watch-watch now, but it’s a very different product assortment. I’m not going to have a convenience of seeing VOD titles in a subscription environment.
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his is a fascinating area for me. I’m amazed at the metrics that the external world is using to measure success in this industry. When was the last time you watched 10,000 movies, you know? I don’t care how many movies are available to me. As my personal taste as a customer, I want to watch the new stuff so whether we have 10,000 movies or 200 movies it doesn’t matter if I don’t want to see any of the movies that we have. So, our assortment is heavily weighted toward newer releases and mainstream staple titles. We can also supplement that if we wish with a longer tail so we could add another 10,000 movies if we choose to acquire subscription content to Movielink.com or Blockbuster.com, which we probably will over time, but realistically, today we believe that the bigger demand is for the newer titles.
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So, we believe that we have a much more rich content base in Blockbuster.com for digital download than a pure subscription offering. We could beef up our title count and add thousands and thousands of more titles, but we think the most important thing is the quality of the assortment versus the quantity.
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lockbuster Media, not Blockbuster Video which is the old form of retail that we had, but Blockbuster Media is looking forward into the future saying: ‘What I really want is a solution. I would like to come to a place where I can get my hardware and my software and somebody to show me how it all works in an easy way. I want a place that will satisfy my desire for convenient access to media any way I want.’ That’s Blockbuster.
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What you’ll see us doing is slowly expanding our assortment of consumer electronics opportunities to bring in the hardware and be able to sell solutions.
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Now, back to your original question, technology is the secret sauce in the transformation of Blockbuster. Imagine in the future someone walking up to you in the store and you’re admiring that Blu-ray player. They’re able to sell you the PS3 player off the floor and then show you on a handheld tablet PC an assortment of 10 different TV sets that are all 1080p-enabled and bring up the transaction right there, swipe your credit card right on the spot like you would in an Apple store, and have that TV installed tomorrow.
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What we think the role is that impulse purchaser, the person who is less price sensitive, the person who sees that beautiful 42-inch display who says, “You know, I’m a busy person. I’m just going to get it.” Thankfully, that’s a huge portion of the customer base.
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You’re buying solutions and you’re paying a pretty good premium for the convenience of that product working and the solution being readily available. As a retailer, that’s where we’re heading.
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Periodistas 21: Convergencia de medios contra la crisis
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Del total de costes de los diarios, alrededor de un 25% a 30% de media corresponden a la redacción, el gasto más importante, y a costes informativos. Otro 60% se va en papel, impresión, distribución y comercialización, y el restante 10 a 15% corresponde a marketing y administración.
En los medios digitales no hay papel ni impresión. La distribución y la comercialización son mucho más baratas por la eficiencia de la economía digital y el valor (casi) cero de la copia. Pero tampoco hay ingresos por venta de ejemplares, que en la media de los diarios españoles continúa suponiendo entre el 40 y el 50% de los ingresos. -
La rentabilidad publicitaria de los diarios es todavía mucho mayor que en internet. Los grandes diarios españoles consiguen de media más de 6 euros por lector y mes mientras en internet los ingresos fluctúan entre 0,15 y 0,30 euros por usuario único al mes.
El año pasado, el líder en prensa, El País, obtuvo 8 euros de ingresos publicitarios por lector y mes. Prisacom, incluye Elpaís.com y el resto de webs del grupo, logró sólo 0,21 euros de publicidad por usuario único y mes.
Vocento, líder de prensa regional, consiguió 6,15 euros mensuales por lector, mientras las webs del grupo lograron 0,30 euros por usuario único al mes. La diferencia es mayor en el caso de ABC, que facturó 10,8 euros por lector y mes. -
El coste empresa por periodista en un gran diario nacional se puede cifrar en 65.000 euros, un total de 6,5 millones anuales para una redacción de un centenar de personas. Para un medio digital se pueden sumar alrededor de 1,5 millones de gastos técnicos, infraestructura y conectividad, un millón en marketing y medio millón de administración y otros.
Total: 9,5 millones de coste anual. Un gasto mensual de 792.000 euros.
Serían necesarios 3,95 millones de usuarios únicos mensuales con un ingreso medio de 0,20 euros por usuario y mes para encontrar el punto de equilibrio -
Sólo tres medios alcanzan esa cifra de usuarios en España, según los últimos datos de OJD, pero cualquiera de ellos superan muy holgadamente estos gastos con lo que si se aplica la convergencia sólo como el trasvase de ingresos del negocio tradicional al digital, el futuro sería muy difícil.
Pero cuando tenemos en cuenta los ingresos del papel, la convergencia aparece como la solución. Los medios informativos tradicionales españoles todavía facturan en internet como máximo un 7% de sus ingresos totales. La convivencia de los ingresos por el diario papel y el digital compensa parcialmente las pérdidas de facturación publicitaria.
Pero ese escenario está cambiando. En Estados Unidos se ha calculado que la prensa perderá ingresos publicitarios hasta 2014 para después empezar a recuperarse. -
Otra cosa es si se piensa en un medio informativo puramente digital, pero con voluntad de cubrir y generar información propia. Imaginemos un medio con una redacción y un departamento técnicos importantes y competitivos de alrededor de 40 personas en total. Los salarios en internet continúan siendo más bajos, con lo que el coste medio podría estar en 40.000 euros en un medio nuevo. Un coste total de 1,6 millones de euros.
Mantengamos un coste técnico de un millón de euros anual y reduzcamos el marketing a medio millón de euros y los costes de administración y generales a otro medio millón. En total, 3,6 millones de euros con un gasto mensual de 300.000 euros.
En un medio nuevo la rentabilidad bajaría, así que podríamos estar en la banda baja de rentabilidad, 0,15 euros por usuario y mes. Serían necesarios 2 millones de usuarios únicos mensuales para cubrir costes. -
Un modelo orientado a la multimedia y el multiproducto para aumentar las vías de financiación y ganar valor en mercados especializados y de nicho, donde está el futuro de los medios informativos
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Advertisers Warm to Racier Web Video, Though Not User-Gen
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Advertisers are far more accepting of envelope-pushing comedy on
the Web, as long as the envelope is being pushed by
professionals.
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Revenue On YouTube | Would Pre-Vetting All Video Help Google Make Money On YouTube?
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Approved content only accounts for about 4% of the total videos on YouTube, and for that, Google is expecting to make about $200 million in revenue this year. So the question now being asked is: Should Google up the rate of approved videos?
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The Opportunities of Online Video in Spanish - A Niche Market of Over 125 Million Users
The Opportunities of Online Video in Spanish - A Niche Market of Over 125 Million Users
Tags: online, video, español on 2008-09-21 and saved by2 people -All Annotations (9) -About
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if we add the Spanish-speaking broadband users residing in Latin America, the US and Spain, the number will exceed 60 million by the year 2012.
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f we consider that approximately 80% of Internet users watch video online and that this percentage will grow to 88% by 2012, it is evident that the Spanish-speaking "niche" target is pretty big and therefore very appealing both for the producers of online video content, for the publishers and for the brands.
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Similarly in Latin America countries such as Argentina and Mexico are substantially different both culturally and sociologically but their populations consume similar types of TV and video contents like telenovelas, movies, music videos and reality shows.
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The opportunity for a online video portal capable of offering professionally produced content in Spanish is indeed gigantic:
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while in the English-speaking arena there are many competitors fighting for the audience, the Spanish-speaking market is still reasonably virgin.
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The video content in Spanish has an additional advantage in comparison to the English counterpart: it could be efficiently produced in countries with very low production costs and excellent structures such as Argentina, Costa Rica or Mexico: countries with reliable technical resources, experienced crewmembers, an incredible variety of locations and good talen
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The business model for a video portal in Spanish is based on revenue from advertising and therefore the sponsorship is the key issue in the monetization of the content. Since the audience is spread out in 21 different countries, the commercialization poses several challenges. Even if many brands, like P&G, General Motors, Whirlpool, Toyota or Coca Cola operate at a global level, they very rarely have a unique marketing budget for the totality of the Spanish-speaking countries.
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many brands have Latin America divided into several zones such as Mexico, Central America, the Caribbean, the Andine Pact and South America, everyone with their own managements and budgets. Therefore, on one hand, a video portal in Spanish should be able to deliver ads according to the IP in order to target specific countries or regions and, on the other, should operate globally and coordinate the different marketing regions of a client offering them the distribution of the same or different executions according to the location, their objectives and their targets.
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The process should be efficiently coordinated: the scriptwriters for instance, and the SEO specialist should work together from the very beginning creating extremely optimized content. This process should also include marketing people capable of working with the sponsors in order to create and execute relevant branded content and to attract viewers. To achieve this goal, a wide spectrum of techniques has to be used: SEO, syndication, seeding, PR, social media marketing, newswires and so on. For a typical series of webisodes we seed the content in over 60 video-sharing sites, create pages and groups in dozens of social networking sites, send out digital press releases using a newswire service and the social media press release template, share the videos with relevant bloggers and syndicate some key webisodes on portals in all Spanish-speaking countries.
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The Death of the Korean DVD Industry: A Sign of Things to Come in the U.S.? « NewTeeVee
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in South Korea that should worry Hollywood, the most important one being that in the face of ubiquitous broadband, DVDs won’t be replaced by other physical formats or even VOD services, but by the cloud.
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Interestingly enough, P2P networks aren’t at the center of the Korean downloading craze.
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SubPLY: Making YouTube Captioning a Reality
Tags: subtitulado, subtitles on 2008-09-03 and saved by3 people -All Annotations (0) -About
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- Foreign language usage and viewership increased over 700% in a 5 week period.
- 19% more viewers watched videos to completion than those without subtitles.
- The share function (sending the video to others) was used by viewers watching subtitles 171% more often (the viral effect was boosted).
- A 37% increase in both users who watched the video in full screen mode and users who replayed video.
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Capitalizing on Online Video's Strengths - Advertising Age - Digital: Columns
elementos de errror en la publicidad asociada al video online
Tags: publicidad, advertisement, online, video, ad, age, david, carson on 2008-09-03 and saved by2 people -All Annotations (0) -About
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Old model won't fit
You see, online video is not TV. Sorry to state the obvious, but even though we all know it's a very different medium, we are trying to force-fit it with a television ad model. Publishers are trying to divert TV ad dollars to online video platforms and feel the need to use the same language and formats as TV. They do this thinking it will help them bridge the knowledge gap and convince TV media buyers to shift their dollars. -
People use them differently. TV attracts watchers, while online video attracts users.
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They become part of the experience, not simply observers -- not unlike the difference between TV and video games. You don't watch video games, you play them
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So why are we treating this inherent strength of the medium as a weakness? Even worse, why are we blindly accepting that the best way to build online-video markets is by applying an ad model from a completely different medium?
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Because that's where marketers put their money. They see video on new boxes and think, "Hey, it's another place to put my video" and miss out on the real strength of the medium. Even worse, online-video companies feed this mentality by trying to showcase what the marketers think they want -- "quality content" -- and dismiss the entire feedback system that tells them what the users are actually doing.
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The gap is between what people are actually doing and what advertisers think people should be watching. These two things are simply out of synch, and until we get them aligned, the market will putter along, with many lost opportunities.
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Problems Emerge Measuring Web Video Ads - TVWeek - News
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Mr. Hallerman pointed out that most TV ad spending numbers do not take product placement into account either. eMarketer measures pre-rolls and other ads that look like TV ads online.
Mr. Hallerman said product placement should be counted, perhaps as a separate category. -
That suggests the size of the Web video economy is being underestimated by the amount of ad dollars flowing into high-profile Web shows such as NBC-backed “Gemini Division,” EQAL-owned “LG15: The Resistance” and Revision3’s “Diggnation.”
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That’s a problem because they generate most of their ad revenue from brand integration and host shoutouts, as do many Web studios including Next New Networks, Revision3, ManiaTV and For Your Imagination.
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“The vast majority of revenue we derive for our shows are from brand integration,” said Greg Goodfried, one of the executive producers of “LonelyGirl15” and its spinoffs, which have inked deals with MSN, Disney, Paramount and Procter & Gamble.
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“Brand integration is one of the biggest segments of the online video ad market, maybe bigger than pre-rolls,” said Raj Amin, CEO of HealthiNation, the online video health information network.
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“We have found it to be difficult to disentangle what should be the online video ad spend when a Nissan sponsors ‘Heroes,’ for instance,” he said. “There is a lot of room for error.”
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For Web TV, a Handful of Hits but No Formula for Success - NYTimes.com
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Most commercial webisodes rely on video advertising before, during or after the episode, or product placement and brand integration within the sho
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“If your Web show has 35,000 people watching it, but all of those people are valuable to a certain advertiser, you can make good money from that show,” Dina Kaplan, a co-founder of the video site Blip.tv, said.
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“We need the TVs in the living rooms to be integrated with the Internet,” said Ron Richards, the director of marketing and product management for Revision3, which calls itself a “television network for the Internet generation.”
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Perhaps most important, people in the industry say, Web shows need serious promotional support. New television shows benefit from multimillion-dollar marketing campaigns; webisodes do no
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“Having a big hit that people around the water cooler in Louisville are actively discussing will be a turning point for the industry,” Ms. Kaplan said.
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For Web TV, a Handful of Hits but No Formula for Success - NYTimes.com
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“There’s never been an easier moment to get content to an audience,” Brent Weinstein, the chief executive of 60Frames, said. “Everybody is trying to figure out how to turn that into a business.”
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Can Hulu Be A Bigger Business Than YouTube?
Tags: youtube, monetizacion, hulu on 2008-09-02 and saved by3 people -All Annotations (0) -About
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But from a business standpoint, professional content is the place where advertisers want to spend money and how video sites will solidify their financial position. Athough Hulu will probably never grow to the size of YouTube and Google can use that size to its advantage, Hulu’s own advantage is its ability to draw advertisers to the content that more effectively attracts their target audienc
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In contrast, Hulu is the epitome of a video site that has capitalized on the inertia of the industry by providing users with content they know and can enjoy, while making it a service that would appeal to practically any advertiser.
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Google, a company that controls more than 30 percent of the U.S. video market, can only attract 15 percent of advertising spending this year. As more advertisers look to spend money on online videos and continue their search for professional content with dependable demographics data, Hulu could become the service of choice.
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The Hispanic Media Puzzle - eMarketer
Interesante: los hispanos adoptan antes que los blancos las innovaciones de la red, los jovenes usan más internet que ven la tele
Tags: hispanics, hispanos, USA, consumo, online, publicidad, advertisement on 2008-08-27 -All Annotations (0) -About
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"Overall, Hispanics are heavy users of all digital media, embracing innovations more rapidly than non-Hispanic whites."
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:: revista TELOS Redes sociales y propiedad intelectual.<br>Dos mundos obligados a entenderse
Tags: andy, ramos, propiedad, intelectual on 2008-08-24 -All Annotations (0) -About
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os autores y otros titulares de derechos deben ser conscientes de que, en la era de la Sociedad de la Información (SI), no les va a ser fácil controlar cómo accederán los ciudadanos a sus obras y prestaciones, por lo que se antoja necesario, casi imprescindible en mi opinión, un cambio en la configuración de las leyes, de tal forma que se permita a los usuarios acceder a estas obras de la forma que deseen, al tiempo que se remunere correctamente a quienes ofrecen su tiempo, esfuerzo, talento y dinero a la creación de contenidos.
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User Generated Content (UGC) , o "contenido generado por el usuario", aunque hubiese sido más idóneo utilizar la palabra "aportado", por cuanto en mucho casos el usuario no genera el contenido, sino que simplemente lo facilita,
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De igual modo, los usuarios de este tipo de redes, y más específicamente los músicos, deben saber que en una grabación fonográfica puede haber diversos titulares de derechos, incluyendo músicos, autores, editores y productores de la grabación, y que no puede ser puesta a disposición en Internet sin la autorización expresa de todos ellos
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En este punto, Tuenti (10) (al igual que en cuestiones de privacidad e intimidad) es el servicio más abusivo, con un aviso legal que obliga al usuario a cederle en exclusiva y sin limitación territorial, los derechos de reproducción, distribución y comunicación pública de los contenidos subidos al servicio web; esta cesión en exclusiva implica que el usuario no podría, en el plazo legal de cinco años desde que se produce la cesión, explotar el contenido aportado, ya que será Tuenti la única y exclusiva titular de estos derechos de propiedad intelectual. Este aviso legal impide actos tan legítimos e inocuos como que el usuario suba primero unas fotografías a Tuenti y posteriormente a Flickr, o que publique un libro con los textos que ha ido introduciendo previamente en este servicio web.
Condiciones de cesiones de derechos tan abusivas como ésta deben ser tenidas en cuenta por los usuarios ya que, y aunque a priori pudieran no afectar a la explotación de los contenidos subidos por ellos, a posteriori podría impedir la correcta explotación de sus obras.
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NBC's Zucker: Keeping The Olympics On Tape Delay Is A Genius Idea. Get Used To It
evolucion del duros por pesetas pasando de dólares a medios dólares
Tags: dollars, for, pennies, duros, por, pesetas on 2008-08-24 -All Annotations (0) -About
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WITH GREAT DIGITAL KNOWLEDGE AND HOPEFULLY WE'LL BE ABLE TO TURN THOSE DIGITAL PENNIES INTO DIGITAL IF NOT DOLLARS DIGITAL 50 CENT PIECES AT SOME POINT.
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In Web Video, Syndication May Rival Search - How-To Articles - The Ad Age Web Video Report
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It's almost a cliché that online video is a business in quest of a business model. Developing a system to effectively distribute video content while compensating providers and publishers is something of a Holy Grail. Such a system will enable users to get more of what they want in the way they want it, and it will maximize the exposure and financial potential for video producers, Web publishers and online advertisers. ClipSyndicateand Voxant are already moving along the path to doing precisely this—both with news content.
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Could it be that, on the Video Web, syndication—providing video content to myriad sites—is the new search? While the syndication model takes on various forms—depending on medium and, to some extent, on money—might the Video Web evolve something new and compelling for its diverse constituencies? Search, after all, is pull, where syndication is push... and has the potential to be piped into your life in an almost organic way.
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In practice, this isn't a zero-sum game; both video search and video syndication are indispensable to making the Video Web both useful and a viable business.
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Richmond, who has advanced the concept of the syndicated video economy, suggests syndication can create "video ad inventory where none previously existed. Such is the power of syndication in the frictionless Internet environment. And why smart content providers -- from startups to established TV networks -- are recognizing that increasingly, syndication is where the broadband market is heading."
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ClipBlast! (www.clipblast.com)
Notation: * = Private bookmark and comment|… = Clipping [?] | … = Public highlight [?]