TV content owners may be moving quickly on HD programming; TV advertisers for HD commercials are another story. A new study says advertisers using HD in their commercials were just 13% of all the TV creative that ran in the fourth quarter, with 87% of TV advertising running in SD, standard definition. This was relatively flat from preceding periods. The study was produced by Boston-based digital video ad network company Extreme Reach. Two of the biggest ad growth categories for HD "adoption" -- airing as least one HD ad on at least one HD TV outlet -- have been automotive marketers, now climbing to 29% rate, and retailers. Automotive was at a 20% rate in the third quarter of 2010. Retailers are now at 34% in the fourth quarter, from a 29% in the previous period. Overall, looking at all advertisers, the adoption rate -- airing at least one HD commercial on at least one HD network -- has remained steady at 40%. The content side of the business is ahead of advertisers, waiting to accept far more HD commercials. Eighty-three percent of broadcast programming can take advertising content in HD; cable networks are at a 59% level. Extreme Reach says now more than one-third of all local broadcasters can do HD messaging, at 34%, with local cable at 58%. But when looking at the actual receiving of HD ads, that data shows there is room to grow. Broadcast networks are getting 32% of TV ads in HD; cable is at a 27% receiving rate; local broadcast, 7%; and local cable, 5%.
You don't have to be a sheep and you don't have to accept conditioning. No, it's not a political slogan from a George Orwell novel. It's the theme of Hyundai Motor America's new ad campaign for the 2011 Elantra. The automaker is touting both Elantra and Sonata with four new ads, some of which will run as part of its buy on the Super Bowl. The ads, via Innocean Worldwide Americas, will first air this weekend during the broadcast of the AFC Championship game on Sunday. Also in the two weeks leading up to the Bowl game, the spots will run as unbranded, viral online videos. And print, digital and direct marketing elements will also start before the Super Bowl, during which Hyundai will run three ads. This is the fourth consecutive year in which the Fountain Valley, Calif.-based auto company has advertised during the national Super Bowl broadcast, and the first time it has tied the media buy to a campaign starting during the divisional championships. "Over the years, the Super Bowl has provided a great avenue for us to reach a significant audience, and this year we are expanding that reach by jumpstarting the campaign two weeks early during the AFC Championship game," said John Krafcik, president and CEO, Hyundai Motor America, in a statement. "Having a fully integrated campaign leading up to the Big Game next month will allow us to build a story that makes a dramatic statement." The two Elantra ads, with a "Snap Out of It" theme, suggest that people are driving ugly, unstylish, cramped compact cars because they have been conditioned since birth to accept those constraints. One ad about how roomy the new Elantra is shows home movies of little kids crammed into little toy cars and car-shaped swings, and beds from which their legs protrude. The other spot shows people in an Elantra noticing that all of the other cars around them being driven, literally, by sheep (not gerbils -- that would be Kia Soul's campaign). The company says the Super Bowl campaign will involve a viral campaign using 10 online parody spots that discuss a global "conspiracy" behind "compact car hypnosis." The shorts, like the ads themselves, are shot to look like consumer-generated content. They direct viewers to an unbranded microsite that expands upon the compact car conspiracy. Only on Super Bowl Sunday will Hyundai reveal the truth about the ads, and then it will also launch the other two "Snap Out of It" ads.
San Francisco -- Big video usage numbers continue to come to the digital video industry -- even if things have tapered off a bit. In speaking at the OMMA Video conference in San Francisco, Dan Piech, senior product management analyst of comScore, says the business is now firmly established and mature. After some major growth in 2006, Piech says stats have leveled to 180 million visitors watching videos per month. That comes to 85% of all Internet consumers, 200 videos per person and around 13 hours per month. Key for some major TV networks and their TV shows -- also known as "premium video" -- comScore says there has been a shift of regular TV networks' customers viewing video online on a consistent basis: 4% in 2009, now 8% in 2010. Seventy percent of people say the biggest reason for watching a TV show online is to watch a missed episode. The next reason -- for 57% of Internet customers -- is convenience. In third place, 56% of digital viewers want to see a past episode. Most revealing is the fourth reason. Piech says 42% of people watch online because there are less ads versus on traditional TV. He says the data indicate consumers now want fewer digital ads versus a year ago. In 2010, comScore says consumers' limitations are around five and half minutes to six minutes per episode of a TV show. The year before, consumers would allow around six to seven minutes messaging. Good news for premium TV digital sellers, says Piech, is that the business still delivers on average less than 5 minutes of digital video messaging per episode.
With two new judges and maybe some viewer fatigue in its 10th season, "American Idol" posted sharp drops for its season premiere Wednesday. The Fox show also had its lowest debut ratings since season one in 2002 when it was a virtual unknown. The two-hour premiere averaged a 9.7 in the 18-to-49 demo, down 18% from the 11.8 a year ago in "live plus same day" ratings. The debut this year was on a Wednesday versus a Tuesday in 2010. Among total viewers, "Idol" drew 26.2 million, down 12% from a year ago. The show did not face much competition. ABC hit comedy "Modern Family" came closest to challenging it with a 4.6 in the 9 p.m. hour among 18- to-49 year-olds, but that was less than half what "Idol" had in the half hour. The "Idol" premiere marked the largest year-over-year drop for a season debut in both the 18-to-49 demo and among total viewers in its 10-season history. Still, its debut still makes it the No. 1 show on TV by a long shot, topping "Grey's Anatomy" and "Modern Family," which both have a 4.9 in the 18-to-49 demo. "Sunday Night Football" averaged 8.0 in the 18-to-49 demo. In 2002, when both "Idol" and judge Simon Cowell were little-known, "Idol" premiered in June with a 4.8 in the 18-to-49 demo, and 9.9 million viewers. The show then became a phenomenon and the September finale averaged a 10.7 in the key demo and 22.8 million viewers, respectively.
Robert Bakish has been promoted to president and CEO of Viacom International Media Networks. Prior to his appointment, he served as president of MTV Networks International. Reporting to Viacom president and CEO Philippe Dauman, Bakish will take charge of company properties operating outside the U.S., such as MTVN International, BET, Comedy Central and non-premium Paramount nets. Dauman stated that the 14-year Viacom vet's "experience across geographic regions and his understanding of the complexities of global markets" will be vital in future expansion plans. Bakish will retain his current role as chairman of Viacom 18, a joint venture with India, and remain a member of the boards of Viacom's ventures with BSkyB and Telecom Italia Media. "The development of our international business is a major priority," added Dauman, "and Bob is the ideal choice to lead the global charge." Viacom International Media Networks comprises 145 television channels in 160 countries and territories, as well as related digital properties and consumer products businesses.
ESPN failed to launch regional sports networks when the market was ripe. Recently, it has tried to avoid making the same mistake with locally targeted Web sites. Now, it may look to persuade multiple universities to launch their own sports networks. ESPN said it has a 20-year deal with the University of Texas and marketing arm IMG College to operate a 24/7 (still-unnamed) network dedicated to UT. Content will include the exclusive broadcast of at least one UT football and eight basketball games a year. Included in the deal is the launch of a broadband offering covering Texas high-school sports from El Paso to Beaumont, including football and basketball. The UT channel will debut in September, presumably with wall-to-wall coverage of the UT football program's journey back to respectability after a miserable 2010. ESPN said the channel will include a slew of women's basketball games, which will make up many of the 200-plus events a year on the network. They will also be in the "Olympic sports" segments, including softball and track and field. In addition, a broadband offering will include the coverage of live events when two take place at once. Like the Big Ten Network, the UT channel will have programming focused on "academic and cultural happenings" at the university, ESPN said. The University of Texas has an agreement with the Big 12 Conference, where its teams compete, allowing it to have its own outlet. Not all conferences would allow a single school to do that, although ESPN may look to try a similar arrangement elsewhere. Earlier, ESPN ceded the ground on the regional sports networks to Fox Sports Net and others. Thus, it would not want to miss out if there is a trend in university-dedicated channels. Perhaps having learned from the regional sports loss, ESPN has launched dedicated Web sites covering sports in five markets.
Another new digital video venture has launched -- this one more as a program guide looking to aggregate information and links of TV reruns, from "Man From Uncle" to "Family" to "Buffy the Vampire Slayer." The site, the Corvallis, Ore.-based RerunCentral, acts as a search platform of sorts, offering up links to TV shows at Internet destinations such as Hulu, Crackle and TVLand. Users click to the location of these shows -- which, according to RerunCentral, is "legal studio-produced online videos." RerunCentral offers its service as a guide to all reruns from 1948 to 1999 -- some 300 TV series -- as well as a prime-time schedule guide of when those shows appear. The schedules can be browsed by year, weekday and network. "Web users have increasing opportunity to view a wide variety of TV shows online," stated Bob Poulsen, president of RerunCentral.com, "and yet locating a desired show to watch can be challenging." RerunCentral.com also gives users links to purchase their favorite shows on DVD. Over 2,400 DVD products of more than 500 TV series are available, such as "The Lone Ranger," "Mork & Mindy" and "M*A*S*H." The release didn't say what, if any, business deals the company has with the Hollywood Studios that produced these shows.
Liz Dolan, who led marketing at Oprah's new network prior to leaving months before its debut, has joined News Corp. as CMO of the Fox International Channels. Dolan will report to Hernan Lopez, CEO of the business unit, and will be based in Los Angeles. The post is a new one, which includes oversight of consumer and trade marketing, branding and corporate communications for the channels outside the U.S. Programming includes the National Geographic Channel and distribution of Fox-branded content. Dolan was CMO of the OWN: Oprah Winfrey Network from December 2008 to June 2010. The network launched earlier this month on Discovery. She also logged 11 years until 1997 at Nike, including a top role in global marketing. Lopez stated that Dolan has a "track record of innovation and results" and "understands what it means to bring together local passion and expertise with a broad global brand vision." Between Nike and OWN, Dolan co-hosted (with her four sisters) and executive-produced a talk show syndicated by ABC Radio. Fox International sends programming worldwide in 35 languages, and runs an international online ad program involving a "dot-Fox" (.Fox) URL.
The Outdoor Channel has renewed a deal with Bonnier Corp. to air programming carrying the iconic Field & Stream magazine brand, and the two companies will continue to offer multiplatform ad packages. The arrangement has the network, which was recently listed in 35.5 million homes, offering "Field & Stream's Total Outdoorsman Challenge" for the third year in a row. The four-part series chronicles the decathlon-like competition covering hunting, fishing and sport-shooting. The deal also includes the continuation of "Field & Stream's The Gun Nuts," presented by Smith & Wesson, which features how-to advice and tips on various sport-shooting challenges. The program debuted last year. The initial agreement was inked a year ago and remains in force for multiple years. Outdoor Channel will continue to offer video on the Web sites for both Field & Stream and fellow Bonnier publication Outdoor Life, while Bonnier publications will provide content to Outdoor Channel's Web site. Outdoor Channel will also run ads and advertorials in Bonnier publications. Field & Stream dates to 1895, while Outdoor Life debuted in 1898. Sales teams at both entities will craft cross-platform packages that can combine time on the network and various digital outlets and pages in the magazines. Outdoor Channel says the combined properties reach an audience of some 57 million.
In a rare occurrence for a TV copyright owner -- not a TV network -- the National Football League forced sponsor Toyota Motor Corp. to change a television commercial after it ran. The spot involved helmet-to-helmet football contact. The spot ran on an ESPN's "Monday Night Football" game. According to a Reuters report, the message was instantly flagged by NFL officials. In it, Toyota explained how it adapted its technology -- when it comes to automobile collisions -- to that of the collisions among football players, especially college football players. "The NFL saw it on "Monday Night Football" and the next morning we got the call," Tim Morrison, corporate marketing communications manager for the Toyota division in the United States, told Reuters. "They weren't happy." Although the spot includes video of players and computer renditions of football player collisions, it did not mention the NFL. The NFL wanted the entire commercial spot removed, but per Reuters, Toyota re-edited the commercial and removed the offending imagery. Medical issues surrounding the NFL -- and football in general -- have been a major topic over the last year, especially the long-term effects of concussions due to violent hits by football players. The league says it took new steps to protect its players from concussions.
CIMM's Set-Top-Box Data Lexicon contains over 850 terms and definitions associated with Set-Top-Box data, measurement and procurement. This reference guide was designed to create a common language of terms and definitions for the Set-Top Box data space and is an important step in expanding the understanding and ultimate adoption of Set-Top Box data as an accepted industry measurement. The CIMM Word-A-Week column, culled from the Lexicon, is designed to help implement a common language for Set-Top-Box data that will ideally expedite the data usage in the industry. Last week we began with defining Set-Top Box, which is not as simple a task as it sounds. Generically, these boxes span the range from Analog (those that can only deliver data in one direction which is to the box) and Digital (those that have the ability to deliver data in two directions, which is to and from the box). Because they have the ability to deliver data back from the box, it is only the Digital Set-Top Boxes that can provide Set-Top-Box data. Digital Set-Top Boxes vary in level of sophistication, which can impact the amount and quality of data the box can deliver back to the source Here are the ranges of STB types and their definitions: Advanced Set-Top Boxes See also: All-In-One Set-Top Box, Digital Set-Top Box, Enhanced Set-Top Box, Integrated Set-Top Box, Set-Top Box CIMM DEFINITION : Set-Top Boxes that are considered "fully integrated" with good processors, ample memory and optional large hard drives. These boxes have more advanced features and are more likely to be integrated with such services as DVRs, high-speed internet access, interactive TV, digital video recording and gaming. (Source: itvdictionary.com) NOTE - These boxes may or may not have connected back paths. This should be noted; only satellite has digital STBs that are often not connected to upstream paths. (Source: TRA) Advanced Digital Set-Top BoxesSee also: Set-Top Box CIMM DEFINITION : Same as Advanced Set-Top Boxes Definition currently under review by CableLabs. All-In-One Set-Top BoxSee also: Advanced Set-Top Box, Digital Set-Top Box, Enhanced Set-Top Box, Integrated Set-Top Box, Set-Top Box CIMM DEFINITION : Set-Top Boxes that have more advanced features and are more likely to be integrated with such services as DVRs, high-speed internet access, interactive TV, digital video recording and gaming. Definition currently under review by CableLabs. Enhanced TV Set-Top Boxes See also: Advanced Set-Top Box, Digital Set-Top Box, All-In-One Set-Top Box, Integrated Set-Top Box, Set-Top Box CIMM DEFINITION : Another name for an Advanced Set-Top Box. These boxes all have backchannel return path as well as online and VOD capabilities. Definition currently under review by CableLabs.Media Center Set-Top BoxSee also: Set-Top Box CIMM DEFINITION : The ability to link up the Set-Top Box to the computer so content can be viewed on the computer instead of via the television set. 2. Typically refers to devices such as the Media Center PC, Xbox 360 or PS3 that have the capability to provide linear TV services in conjunction with other forms of media entertainment such as music, video games, internet browsing, streaming videos (aka Netflix), etc. (Source: Rentrak) 3 : Media Center PC: a personal computer with a tuner and video card that allows the user to view Linear TV and often has a PVR to record programs as well. (Source: TIVO) Please refer to the CIMM Lexicon online at http://www.cimm-us.org/lexicon.htm for the full range of secondary-sourced definitions to these terms.
Piers Morgan didn't wait for the marketing machine at CNN to take its normal course. The new digital world perhaps forced this. Twitter also had a hand. Since "Piers Morgan Tonight" replaced "Larry King Live," Morgan's new style of politician/celebrity interview show has been reflected through his unusual marketing and promotional efforts. Most recently Morgan was found pleading with a New York Times reporter that he deserved some big press. His private Twitter message to reporter Brian Stelter asked, "Now that Oprah's called me 'My toughest interview for 20 years,' shouldn't you be interviewing me for NYT to talk about it?" Winfrey actually said it was "one of the toughest interviews" anyone had done of her. Toughest? A bunch of reviews said Morgan threw a hefty amount of softballs Winfrey's way as well. Even Morgan noted that if the interview did well, Winfrey might just tell all her friends about it. No doubt CNN did a major job in marketing and public relations work on the show. But Morgan admits to being a full-time self-promoter. Replacing 25-year-veteran King was no easy task. And Morgan isn't the first TV or entertainment personality to actively take the reins of their own marketing efforts. Morgan, of course, knows a thing or two about big spin, having edited one of the most notoriously edgy and scandal-oriented daily newspapers, News Corp.'s News of the World in the U.K. Of course Glenn Beck, Keith Olbermann or Bill O'Reilly may also do promotional shout-outs for their respective shows. But, as Morgan says -- as many might say -- it's all about creating "noise." Perhaps Morgan isn't your straight-ahead news anchor/news reader/news analyst, which makes it easier. Coming from the likes of "America's Got Talent," he has already set out a profile as someone who will blur the lines. You have to wonder. Why don't more TV and entertainment stars do this? Some would say that concentrating on their work -- lines, characters, interviews, or journalism -- takes precedence. But considering the new TV and digital space, marketing/promotion efforts can't stop at a TV Critics tour or with on-air and off-air marketing campaigns. Lots more needs to be done. Think marketing first? Maybe that doesn't make sense. But these days marketing needs to progress pretty closely and aggressively with content, whether for a news program, scripted drama, comedy, or interview/talk show. The results? Morgan's first show with Winfrey pulled in 2.1 million viewers, three times King's most recent average. Still, that was only the first show -- and Fox's competing Sean Hannity, interviewing Sarah Palin, drew more viewers, 2.36 million. The next night, with Howard Stern as guest, Morgan dropped to 1.2 million viewers. All to say, reporters beware: Your private Twitter message from Piers Morgan will be arriving soon.
A small group of disruptive technologists and I spent the day yesterday in Ft. Myers, Fla. where we had the chance to dine at the Edison House. Pictures of Thomas Edison and friends donned the walls, and as we all reclined there, using our iPhones and iPads to communicate and demonstrate our visions, there was something very eerie about the whole experience. Edison's awarded patents (1,093) have touched all of our lives, and I'm certain that almost nothing we did yesterday could have happened as it did, had Mr. Edison not graced us with his presence (and vision). On the drive back, some of us learned that Steve Jobs (230+ patents) was taking (another) leave of absence from Apple, again for health reasons. Foreign markets were reacting negatively to this third such event, and at the time I wrote this post, Apple stock is down close to 5%. Pundits and fans alike have started hypothesizing about the announcement's impact on future Apple devices (iPhone 5, iPad2), and the potential that Google and Microsoft could gain from Apple's loss. Ironically, over the prior week I had begun working on today's column, with an eye to providing some personal insights into how Apple might innovate the TV space over the next 24 months. Candidly, most don't recognize the impact Apple has already had on the industry -- and it's something I hope to investigate a bit more over the coming weeks. But for today, right now, it seems almost... disrespectful. Steve Jobs and his family are going through something very difficult. His departure from Apple, to focus on his health and family, means that the corporate culture and creative energies that Apple afforded him are now no longer there to distract him from the task at hand. It's difficult for many of us to even stop and empathize with the human toll posed by a reoccurring, potentially lethal disease on anyone, let alone a billionaire technology celebrity. To far too many, including myself, Steve Jobs, the human, had become Steve Jobs, the icon. Despite anyone's personal feelings about Steve and Apple, it might be good for all of us to take a deep breath, pause a moment from the task at hand, and imagine what brother Steve is dealing with right now. Today. Today provides us all with a timely opportunity to do something we have failed to do, far too often, when a true genius withdraws from public integration. And that's to say, "Thank you." Sure, much like the growing mindset we all have towards TV and the commercials that once subsidized the TV experience, the fact that many of us have paid for our Apple devices, just as we have seemingly paid for our TV services, seems to eliminate the need to say "Thank you." Indeed, many feel that no thanks are in order, particularly if we're not customers, or, if we are customers, when the price paid begrudgingly exceeded some internal value proposition. But dollars do not thanks make, and a visionary's impact on culture far exceeds the boundaries of an invoice. So, for the record, and from the heart: "Thanks, Steve."
With all the details of the Comcast-NBC Universal deal now set, a big change will affect Hulu, one of the new venture's possibly major future business areas. The Justice Department demanded Comcast give up management rights to the digital video service, rights it shares with its two other major partners, News Corp. and Walt Disney Co. Comcast executives say this isn't too much of a concern right now -- of all NBC businesses, this is the one they know the least about, according to a press call with executives on Tuesday, The DOJ's concerns are that Comcast, as a manager, could restrict programming/products: "Comcast must relinquish its management rights in Hulu, an OVD," according to a Justice Dept. release. "Without such a remedy, Comcast could, through its seats on Hulu's board of directors, interfere with the management of Hulu, and, in particular, the development of products that compete with Comcast's video service. Comcast also must continue to make NBCU content available to Hulu that is comparable to the programming Hulu obtains from Disney and News Corp." Still, Comcast retains its financial stake -- about a third of the business. In essence, the new Hulu deal put Comcast in a minority ownership position. Perhaps Comcast execs, in the back of their minds, believes this digital video destination -- albeit a successful and growing brand -- may not be the be-all, end-all of the new digital world. Things change quickly in the digital space. Remember when MySpace was the big thing when it came to social networking? In looking at a "TV Everywhere" world where Comcast believes consumers will need to pay for content to make it available in several other areas/platforms/devices, the next big wave of TV content ownership looks to be more of a "cloud" type service, rather than a single destination point. Where does this put Disney and News Corp. with Hulu? Possibly in a better position. Seemingly two partners might make for an easier future -- especially when dealing with a sometimes-complicated advertising inventory supply that has some media executives scratching their heads. This isn't the final word, however. Many of the Federal restrictions -- either from FCC or the DOJ -- are limited at most to seven years. See you in 2018 or so.
Whatever you think of the FCC approval of the Comcast-NBC merger, it seems to be giving a big wet kiss to the online video industry. In approving the marriage, the FCC defined "conditions and enforceable commitments" that Comcast/NBC universal had to abide, and the Commission went out of its way to acknowledge and include digital distribution and emerging online video business models. Chief among these commitments was ensuring "reasonable access to Comcast-NBCU programming for multichannel distribution," which ensures NBCU brands will not become proprietary to Comcast cable. But more to the point, the FCC made a special provision aimed at helping online video business models thrive. The sub-provisions are worth quoting verbatim since they will affect a number of players in the video ecosystem. These items may also signal the FCC's general perspective that could inform subsequent decisions involving online content. Hulu is singled out by name, but notice how provisions put Online Video Distributors (OVDs) on an equal footing with Multichannel Video Programming Distributors (MVPDs). The big boys of traditional media and the upstarts of digital-only media have to get an equal and fair crack at the content. The FCC is requiring that Comcast-NBCU:
Cutting the cable-cord? Maybe it's just going "off the grid", away from the traditional video programming grid. Some $1 billion is being spent on online media messaging this past year. But as Brian Monahan, executive vp and managing director of IPG Media Lab, in speaking at the OMMA Video event in San Francisco, says this pales in comparision to traditional TV for marketers. Last year some $18 billion was spent in the TV upfront -- that's a 20% year to year gain, and less than half the $40 billion that is annually spent on TV overall in a given year. "We just haven't found anything that has worked this well on this scale," says Monahan. Still, some 50 million people are either "opting out" (22 million), "cutting the cord", or viewing TV on demand (34 million) -- "on demanders", say Monahan. That's a big deal because, as Jordan Schlachter, research director of Say Media, says they are watching less traditional live TV.
Web-to-TV services looking to change the game -- Roku, Boxee, and Google TV, and will be apparent when it comes to the duration of a particular piece of content. Original programming running along side traditional TV won't look the same, from a time perspective -- different lengths of video versus the standard half-hour, hour blocks of programming. In speaking at the OMMA Video event in San Francisco, Jim Louderback, chief executive officer, Revision3, , which produces original web content says: "We are not trying to replace TV. It's as long as it needs to be. We have shows that run three minutes long, and we have shows that are an hour long." Live programming, as well, will feel different to viewers: "Live is only one to two percent our our audience," says Louderback. "But they love you the most." Not only that, but viewers can choose what commercial messaging -- all to get closer to advertisers. Kevin Stephens, Head of Device Partnerships of Boxee: "I can chose an actual experience." What are the hurdles for these companies? Other OMMA Video panelists agree it'll come from the "discovery" of new digital video content.