Under Armour is launching a new line of low-weight, high-support shoes for athletes who run. The Baltimore-based sports gear maker unveiled the new Spine RPM footwear line at an event in New York City that also included appearances by the three athletes who will be spokespeople for the brand and the new shoes: Tom Brady, Lindsey Vonn and Kemba Walker. An extensive campaign for the shoe line breaks this summer with the theme "This is how we run." The message that Spine is not just for runners but also athletes who run will be carried by a TV, print, digital, social media and in-store campaign starting July 9, and featuring the three athletes. The "This is How We Run" campaign, via Crispin Porter + Bogusky, features a 30-second spot starring Brady, Walker and 2011 Pepsi NFL Rookie of the Year Cam Newton. Supporting elements include a 60-second spot with Vonn and Atlanta Falcons Wide Receiver Julio Jones, digital, in-store and billboard inventory, as well as support on various social media channels. Gene McCarthy, Under Armour SVP for footwear, said UA's expansion into the category runs counter to tradition. "Everyone we compete with is a footwear brand that then got into apparel. We are the opposite, and we think that's a benefit." He said the inspiration for the shoe came with the observation at retail that there were essentially two categories of running shoe: support and lightweight. He said the new shoe's inner support "cage" was inspired by the human spine, and is designed to deliver both strong foot support and be lightweight, at around 9.7 ounces. The UA Spine RPM footwear collection will be available beginning June 29 for men, women and youth. The adult line will have a suggested retail price of $99.99, while grade school shoes will be $79.99. Speaking at the event, Kevin Plank, founder and CEO of Under Armour, said the company has been on a steep growth curve since it was founded. "We grew to $5 million in the first five years, to $300 million in the second five and hit the billion-dollar mark in 2010," he said, adding that last year the company grew another 38%. Plank says the next move will be to extend the Spine brand into shoes for specific sports.
Facing stiff competition, online video ad networks are introducing new products and services faster than marketers can make sense of them. Adap.tv is expected to debut a new tool on Thursday, designed to give buyers greater visibility into campaign results -- before running a single impression. Called the Campaign Optimizer, the predictive technology uses historical data to analyze billions of impressions. Once buyers set their desired performance goals, the system returns the real-time price and inventory availability needed to achieve them. It is set to hit the market next month. Toby Gabriner, president of Adap.tv, said the service takes the mystery out of planning online video ad campaigns. “Buyers need to see and understand the outcome of their campaigns in order to make intelligent decisions,” he said. According to internal data, the new product works. Indeed, in a recent study, Adap.tv analyzed campaigns over a three-month period and found that on average, optimized campaigns delivered 30% higher completion rates, and 21% lower cost-per-completed-view (CPCV) than those not using the Campaign Optimizer. But don’t take his word for it, said Gabriner. He is encouraging dubious buyers to adjust their performance goals for specific ads -- such as completion rate and level of distribution on preferred sites -- and see the impact on their campaigns. By 2016, domestic digital video ad spending will explode by over 250%, from $2 billion in 2011 to $5.4 billion, Forrester predicts. The potential sums explain why Adap.tv -- along with Tremor Video, YuMe, and other video ad networks -- are so concerned with buyers’ needs. On the back end, Adap.tv technology is automatically allocating inventory, which it believes will efficiently achieve buyers’ pre-set goals.
The new Cadillac XTS sedan represents a new chapter for the GM luxury division, as it ventures beyond its three-vehicle lineup of the CTS sedan, SRX crossover and Escalade SUV. The new car, which starts at around $44,500, resides between a mid-size and large sedan and replaces the discontinued DTS and STS duo. The 2013 XTS is also the new flagship for Cadillac, and serves as the up-market bookend of a portfolio that will soon include -- at the other end of the spectrum -- the ATX compact luxury car, which arrives later this year. That car, which be a competitor to cars like Audi A4 and BMW 3-Series, is also the gateway vehicle Cadillac is counting on to bring in brand-new buyers who will considerably lower the median age of the Cadillac owner base -- which is now about 62, per Cadillac Global Marketing Director Jim Vurpillat. "We about five years older than the average luxury [auto] buyer, but part of that is the youngest luxury segment is compact." Vurpillat tells Marketing Daily that deliberately targeting younger consumers doesn't work because it does nothing to change perception. "Rather than just going after younger buyers, it's really more important not to be perceived as 'old.' So, for instance, last year we advertised V-Series [Cadillac's high-performance sub-brand] significantly, because it's a perception-change agent," he says. The brand was in New York this week to show off the XTS and the new telematics platform, CUE (for customer user experience), of which XTS is the first beneficiary. Vurpillat points out that XTS advertising, which focuses on CUE and other wizardry, is technology-centric. CUE was designed to look and function like a smartphone or iPad, with basically no buttons at all. Rather, CUE uses gesture-sensitive technology and a tactile-response or "capacitive" faceplate where icons kick slightly when you touch them. Advertising focuses on technology: one spot asks viewers to count the number of buttons on the control console of their current car, and then compares that to the array in XTS, which technically doesn't have any buttons, since the capacitive-icon feature extends to the whole column, making the entire telematics platform look and function a bit like a big smartphone. Another ad for XTS touts the car's Safety Alert seat, which elicits a physical "nudge" either to the sides, back or front, depending on whether the vehicle is warning the driver that it is veering into a different lane, or if there is crossing traffic in front or behind. Vurpillat says everyone who takes delivery of XTS gets the iPad 3, in which is installed with an app that walks the new owner through CUE. "Each dealership also has a trained technology expert," he says. "Two to three months before cars hit dealerships [sales staff] are trained on CUE." Vurpillat adds that the division has also sent 25 connected-tech experts to Cadillac regions to assist dealers. Matt Highstrom, Cadillac interaction designer, tells Marketing Daily that CUE will be rolled out to Cadillac's other vehicles after XTS, starting with ATX and SRX. "In today's world people expect to be able to pick up a device and have it operate like the device they are accustomed to. An easy interface is fundamental," he says.
Looking at the last third of the TV 2011-2012 season -- over a broader week-long viewing metric -- broadcast networks sank in viewership versus the year before. TV cable networks were virtually flat. The four major English-language networks lost 9% in 18-49 ratings points to land at a collective 8.0 in 18-49 ratings. At the same time, the top 10 cable networks inched up 1% (a 6.5 rating) and all ad-supported cable networks (some 60-odd networks) showed a 2% rise (to a 18.0 rating). This is per Turner Broadcasting research, which blended live-program-plus-seven-days of time-shifted ratings (L7) for the second quarter and live-program-plus-same-day ratings (June 4-17). For the season overall, the four networks were flat with its 18-49 viewership, versus a year ago, to stop at a total 18-49 rating of 10.2. The top 10 cable networks rose 2% to a 6.7 collective rating in this category -- with all advertising-supported networks 3% higher to a 8.9 rating. As in other metrics, Fox was the leader among the broadcast networks for the season -- averaging a 3.2 rating in the L7 program metric, with CBS next at a 3.0 rating, and ABC and NBC tied for third with a 2.5. In terms of overall viewership for the season, the four networks kept pace with all cable ad-supported networks, both rising 1%. The top 10 cable networks rose 2% in the period. Total TV viewing in the second quarter 2012 is down slightly from the previous quarter, but up from two years ago. Total TV viewing was at 32.7 hours a week, with live viewing at 30.1 hours and time-shifted viewing at 2.6 hours. Just looking at prime-time viewing, total TV was at 8.2 hours, with live viewing at 7.3 hours, and time-shifted viewing at 0.9 hours.
Every image tells a story on television, but not a complete picture without real-time tweets connecting TV with online, says Twitter CEO Dick Costolo, speaking at Cannes Lions. The biggest challenge, it seems, is that broadcast TV needs a dependable partner -- but by Thursday the added tweet volume from the ad festival appears to have sent the site offline. Earlier in the week, the site boasted that there were more than 15,000 online posts across social media referencing #CannesLions, with 95% coming from Twitter. On Thursday, as of 12:40 EST, the site went offline. Remember #failwhale? Broadcast TV needs a reliable social media partner. While it all began with lower thirds serving up at the bottom of TV screens during broadcasts, Twitter pushed the concept of using the site to bring TV viewers online and connect them with other socialites to create a community in real-time. A producer's guide explaining best practices for connecting TV audience through tweets went up on the Twitter's site in early June. TV shows have tapped the social site to raise ratings. The company developed an analytics package to track the continuous tweets during television broadcasts. The sharp spikes correspond to major moments in a show. Last year, Twitter and technology partners stepped up following tweets to TV, bringing real-time content to TV shows. But the interaction between viewers and TV content presents another dynamic that makes the big screen more relevant to marketers. Costolo also said Twitter would begin offering promoted advertising in 50 additional markets this year, reducing its reliance on revenue from the U.S. Twitter's worldwide ad revenue should rise 86.3% to nearly $260 million -- up from $139 million in 2011 -- and $45 million in 2010, eMarketer estimates. About 90% of Twitter's revenue comes from the United States, but this year, $26 million in ad revenue could come from overseas, the research firm said. Earlier this week, Twitter introduced Cards, making it possible to attach media to tweets that link to content through a few lines of HTML code on the Web site. A "Card" is added when site visitors tweet links to the content. It automatically attributes content to the site. There are three types of Cards: summary, photo and player.
Watching paid video content on mobile devices is climbing -- but gaming consoles remain the overall leader when looking at all new digital devices.Now, 29% of consumers watch paid content on a handheld device, while viewing on laptop/desktop computers has declined to 39% from 48% in 2011, according to J.D. Power and Associates Reports.Tablets are the most popular. The study finds that 18% of consumers use tablets for viewing paid video content, up from 11% a year ago. Mobile phone usage is not far behind -- 16% of consumers have been watching video on phones, an improvement from 14% in 2011.The study also notes that nearly one-fourth (23%) of customers view paid content via gaming consoles, compared to those who view paid content via handheld devices (29%).Overall gaming consoles continue to be a high usage device when viewing video -- 6.3 hours per week, compared with 5.3 hours on a laptop/desktop, 4.9 hours on a wireless phone, 4.5 hours on a music player, and 4.4 hours on a tablet. “These findings illustrate that while customers appreciate the convenience and value that gaming consoles provide, the TV screen is still a preferred viewing media,” stated Frank Perazzini, director of telecommunications at J.D. Power and Associates.“On the other hand, average viewing times for mobile devices and computers are likely impacted by battery life and screen size," he noted.Overall satisfaction with pay-to-view video service providers averages 750 -- on a 1,000-point scale -- up from 743 in 2011.
TV One, which targets slightly older African-Americans than BET, is looking to refresh its brand for the first time since its 2004 debut, offering a new logo and “Where Black Life Unfolds” tagline. The on-air look is also undergoing a revamp. The shift comes as CEO Wonya Lucas, who held multiple roles at Discovery Communications, is overseeing her first upfront at the network since taking over last August. In March, the network announced 14 new series and specials, including “R&B Divas.” The reality series following five recording stars as they look to put their careers and lives back on track is scheduled for an August launch. TV One CMO Kenetta Bailey stated that three principal goals are behind the new image: emphasize storytelling; represent “the range of people and personalities that comprise Black America”; and use a logo that is more “flexible” and “modern” and capitalizes on the “number 1” as a symbol of leadership. TV One is hoping the targeted refresh, along with the new programming, will lead to increased ratings, which by one metric have slipped by 9% among the 25-to-54 demo in the second quarter. Later this year, TV One is scheduled to launch reality series “Save My Son,” which profiles African-American families hoping to put wayward sons back on track. Each episode includes an intervention with loved ones and series host Dr. Steve Perry, an educator and author. The new “Unresolved: Celebrity Cases” will investigate tragic events, such as the murder of 33-year-old recording star Sam Cooke in 1964 and the disappearance of former NBA player Bison Dele in 2002. In more than 57 million homes, TV One is owned by Radio One and Comcast.
CIMM is taking a proactive role in advancing new media nomenclature and processes with both its Lexicon(terms and definitions associated with return path data measurement) and Asset Identification Primer (glossary of asset terms). These documents form the basis of this column, which offers a common language for RPD nomenclature that can expedite the rollout of the data for its many industry applications. Standardization, whether of terms, definitions, edit rules, measurement protocols or watermarking remains an important consideration in RPD measurement rollout progress. To that end, CableLabs has developed EBIF, a format that standardizes content formats to facilitate not only better use of the data for measurement, but also in addressable advertising and interactivity. Here are all the terms and definitions associated with EBIF: EBIF abbr Enhanced TV Binary Interchange Format (EBIF Enabled STBs) CIMM DEFINITION: A multimedia content format specification that supports the efficient interchange, distribution and decoding of an ETV application across the cable industry’s universe of both legacy and advanced set-top boxes that support the Tru2way® specification. (Source: CableLabs) 2: Standard set-top-box software that enables advanced TV applications (including interactivity and addressability). Industry standard for all STB manufacturers. 3: A CableLabs-defined standard interactive application format for software and data, adopted by all the large MSOs and many smaller operators. EBIF applications and data are interpreted by EBIF User Agent software deployed by MSOs in STBs. EBIF is the emerging standard for the implementation of interactive advanced advertising, programming enhancements, and third-party software (e.g., TV Widgets). (Source: FourthWall Media) NOTE - Hand in hand with the EBIF standard is the CableLabs Application Messaging (AM) standard, which defines how EBIF programs and data are packaged and transmitted to and from set-top boxes, and how bound applications (e.g., interactive advertising enhancements embedded in a video spot) are “triggered” for execution. (Source: FourthWall Media) EBIF User Agent CIMM DEFINITION : The software platform/middleware deployed on both legacy and advanced set-top boxes to execute applications written with conformance to the EBIF standard. (Source: FourthWall Media) Definition currently under review by CableLabs.Boxes Using EBIF CIMM DEFINITION: set-top boxes that are EBIF-enabled and can present Enhanced TV applications and interactive advertising. (Source: CableLabs) 2: Percentage of Advanced or Legacy set-top boxes executing an EBIF user agent software supporting interactivity. (Source: FourthWall Media) Please refer to the CIMM Lexicon online at http://www.cimm-us.org/lexicon.htm for additional information on these and other terms.
Los Angeles-based IC Places Inc. has agreed to acquire Hollywood-based Punch Television Networks, including TV stations, licenses and rights to all TV programming on its roster. The deal is expected to close the first week of July, and Punch TV Network President Joseph Collins will become CEO of IC, and will become joint chairman of its board along side current IC President-Chairman Steven Samblis.
Hey, all you Shonda Rhimeses and Jerry Bruckheimers in the making: I can now answer the burning questions at the end of my last column on NATPE PitchCon: Did I attend PitchCon and learn the secrets of the perfect pitch? Yes! Did I score a major TV deal and forget the little people who got me there? Keep reading. FADE IN: Yours truly is doing some final research before attending the conference, where I may pitch ideas for three original recovery-themed TV shows I'm developing with my producing partner Deborah Gairdner. I call up Jenean Atwood Baynes, NATPE Pitch Pit Coordinator, to ask her the most important question of all. “At the risk of sounding like A Real Housewife of Beverly Hills," I say, "what does one wear to PitchCon? First impressions are critical, aren’t they? Should my outfit match my pitch?” Atwood Baynes answers, “If you had an interview with Subway, would you show up dressed as a sandwich? ” Cue the canned laughter as I yell, “Yikes! Cancel ‘The Lost ‘ period costume! Calling Rachel Zoe instead.” CUT BACK TO: Me, on the phone with one of the "catchers" (the Hollywood pros who receive the pitches), Joshua Cozen-McNally from GetawayTV. I ask for his take on what makes a good or bad pitch. “A bad pitch is someone who shows up on a lark, completely unprepared. He or she is basically taking up valuable time that could be better used by someone who is serious about getting their show produced,” says Cozen-McNally. “As far as I’m concerned, the rest are all good pitches.” Cozen-McNally tells me he’s looking for “something in either short or long form that engages, educates, and entertains the viewer wanting to 'get away' for even a few short moments.” Say no more. I quickly seize the chance to pitch him one of our ideas. “How about a comedy webisode where people get away to their favorite rehab?” I ask. “It’s ‘28 Days’ meets ‘Lifestyles of the Rich and Famous’ meets E!’s ‘Wild On’!” “I’m listening…,” he says—and that’s all the encouragement I need to continue talking as we FADE OUT. FADE IN: It’s 9 a.m. on the first day of PitchCon at the Hollywood Roosevelt Hotel. This is where I will sit for eight hours, listening to 11 sessions and 41 presenters. INSERT HUMOROUS MONTAGE: Nervous pitchers meet poker-faced catchers while popular contemporary song plays on soundtrack. CUT TO: Clock. It's 5 p.m. The sessions emphasize a number of similar themes, but each comes at it from a different perspective. One theme is that the digital space—particularly YouTube—is the entry point for fledgling producers. QUICK CUTS: Sound bytes from enthusiastic digital-media proponents. “We’re excited for creators of all shapes and sizes to build great audiences and great businesses on YouTube.” —Jamie Byrne, Global Head of Content Strategy for Google/YouTube. “If you think that there is a lot of content on YouTube today, it pales in comparison to what it will be in the near future. Whether you are a celebrity or someone just getting started, you will be disproportionately rewarded by getting in early—and today is actually early.” —Chris Williams, Chief Programming Officer for Maker Studios, Inc. “It’s not uncommon to find that the economics for some producers and talent are actually better in digital than in traditional broadcast media. Right now, we can figure out how to make producers and talent more money in digital media than we can in TV.” —Chris Jacquemin, Head of Digital Media, William Morris Endeavor CUT TO: Me. The presenters like to use the word “brand” a lot. In fact, if I had a nickel for every time the word is used, I’d have enough money to finance my first YouTube series. The cool thing is that the word is used in many TV-centric (as opposed to the usual marketing-focused) ways. QUICK CUTS: Sound bytes from enthusiastic producers and marketers who specialize in branded entertainment. “We consider ourselves brand showrunners: We come up with an umbrella concept, partner with production companies and talent, package it all under that strategic umbrella, then go to market in all media.” —Steven Amato, President and Chief Content Officer, Omelet LLC “We have [heads of film studios and TV networks] say they believe their show ‘X’ is perfect for brand ‘Y.’ But they’re looking at it from the consumer’s point of view. They don’t know what the brand’s objective is two years, five years, 10 years or even six months from now.” —David Adamson, Executive Vice President, United Entertainment Group “For us, it’s not about 'a can in the hand'—we produce content and move it through all of our channels to create an experience for those who find the brand to be something of a lifestyle.” —Greg Jacobs, Head of Distribution for Red Bull Media House CUT BACK TO: Me. This last comment really resonates with me. Deborah and I have a lifestyle concept that’s rarely portrayed on television yet it’s highly entertaining and brand friendly. So, it’s finally time to answer the question from the opening graph: Do I pitch our ideas and score a major TV deal? No—and that’s the beauty of PitchCon. After Day 1, I quickly realize I’m not ready for the Pitch Pit. Maybe next year—but I'll need some practice first. So, here goes. I'm pitching: A show about teens in rehab—“Less than Zero” meets “The OC” meets “Girl Interrupted.” Or dating in recovery—“Valley of the Dolls” meets “Real Housewives of Orange County” meets “Enlightened.” Or ask-a-convict, an advice show about DUIs, drug possession and distribution — “Intervention” meets “Judge Judy” meets “Life After Lockdown.” Okay, who's catching?
For those enterprises still receiving substantial cash from the traditional television business model there is no need to question the issue of bundling – the packaging of large numbers of TV networks into a cable or satellite subscription. Traditional television producers (national broadcast and cable networks, local stations/channels) and distributors (Comcast, Cablevision, Time Warner Cable, Direct TV, etc.) really have no desire to go to what they assume would be a less lucrative model -- one where consumers don’t pay for content they don’t watch, and advertisers don’t pay for ads that aren’t seen. Cable and satellite systems smartly offered bundled subscriptions to their customers from the get-go. With hundreds of cable networks to choose from, it would have been burdensome and technologically unwieldy in the 1980’s and 1990’s to sell pay-as-you-go, “a la carte” offerings. By bundling networks in different tiers (basic, sports, premium, pay cable) the cable/satellite operators could over-deliver content desired by viewers, and in turn promote sampling of networks the viewer might not know about. This built-in marketing engine increased the perceived value to consumers and justified rate increases every few years. The producers of content (cable networks, production studios) love this model, because they get paid for content by the distributors on a per-subscriber basis. So if a cable network was watched by only 10% of a cable system’s subscriber base each month, and ignored by 90%, they would still receive rights fees based on all subscribers. This gives content producers cost certainty with which to develop and produce programming. But in the emerging business model of T/V (Television/Video), it takes four to tango. Bundling works for 1) content producers and 2) distributors, but no longer serves today’s 3) media consumers and 4) advertisers. Consumers end up paying for networks they do not care about or watch. Bundling sustains the linear television approach where programming and its advertising are thrown up against the wall of network scheduling, and what sticks, sticks. Unfortunately for viewers and advertisers, what sticks and gains audience is a small proportion of the total universe of programming and ads paid for through subscriptions. Add the fact that cable and broadcast networks have continually expanded their commercial loads over the last 20 years, and we see how viewers now pay high tolls in terms of time and attention to get “free” content (which by the way is no longer free due to escalating subscription costs). Advertisers have tolerated this model over the years around the ideas that more supply would keep costs down, and because no one ever got fired for buying national or local television. Without commercial ratings, there is no reliable measure of how much channel switching and ad avoidance takes place in ever-expanding commercial breaks, allowing the media “emperors” to rarely be criticized by advertisers for their scanty “wardrobes." Yet linear ratings continue to decline. Consumers have long shown a desire for on-demand programming. The first “video on demand” platform -- video stores -- was neither digital nor electronic. Film and television viewers would pay $3-4 a night to select and rent a video they could view on their time schedule. The in-store experience of browsing for titles was for many their first “search engine” for media content. It was also the first time that the film and television industry could earn revenues after the scheduled run of a program. Advertising for the most part wasn’t part of the equation. Consumers were happy with more control over their viewing and the “long tail” was born. In the 1990s the internet arrived – seemingly out of nowhere – and soon search and on-demand information and entertainment delivery was available at levels never imagined, though only now is streaming and downloadable video truly viable due to increased bandwidth. Media consumers, particularly younger ones raised on the internet, love the instant gratification of clickable content. Now, consumer electronics manufacturers are building/marketing smart or “connected” TVs that along with ancillary gadgets like Roku are able to connect viewers to high-speed internet streaming. Content sellers like Amazon Plus, Netflix, Hulu and other OTT or “Over the Top” services, along with expected entries from Apple and Google, can bypass cable company subscription offerings a-la-carte and at lower total price points, with or without advertising. Meanwhile cable and satellite distributors have pressured their content suppliers to withhold programming from Netflix, Hulu and the like, and the U.S. Justice Department is investigating restraint of trade accusations against those distributors. As a counter-strategy, the OTT providers are beginning to develop original programming to compete. The infrastructure has shifted to the point where cord-cutting and movement to a VOD T/V world is possible. When consumer and advertiser demand catch up with what is possible, content providers and distributors will have no choice but to compete in a new, unbundled T/V world. I would offer that this is not the end of the world for media providers. An “a la carte” model would not necessarily be less lucrative for content producers and distributors. Adjustments would need to be made in the viewer payments and advertising costs for video-on-demand content delivery and verified interactive ad delivery respectively in order to sustain the quality content that consumers and advertisers demand. Since there would be greater value to both viewer and advertiser for actual delivery of the elements they want most, those cost increases would be justified and willingly paid. The win/win/win/win is that consumers/advertisers will pay higher per-consumption costs and benefit from a lower total aggregate spend, while producers/distributors will receive higher per-consumption payments. Lucrative revenues will be there for providers, tied to real media consumption rather than the current linear system where consumers and advertisers pay for programs and ads that are never seen.
Every year we get one of these: a high-rated new TV show that’s still canceled. This year's honor goes to CBS' "Unforgettable," starring Poppy Montgomery. At a healthy 12 million overall average viewers and a very decent 2.5 rating among key 18-49 viewers, it would seem a no-brainer to stay on the air. As a measure of comparison, very few individual episodes on cable TV networks have reached this lofty 12 million goal -- some Disney Channel "High School Musical" specials, The History Channel’s recent mini-series "Hatfields & McCoys," an ESPN "Monday Night Football" game. But you say: "Oh, that's cable. They have a dual-revenue stream. They can support lower-rated TV shows in general." But now so do network television series, with retransmission revenues that are growing. You might say, "network shows still cost more than show on cable networks." Yes, but the gap is getting smaller. Sure, there are obviously bad TV shows that are poorly produced and low-rated. But even those shows -- in retrospect -- always seem not so pathetic in the rear-view mirror. New shows replacing canceled network shows almost always do worse than the shows they replace. Why did CBS make this decision? Too many older viewers? Not enough upside trending of those remaining viewers? Advertiser rejection of some sort? CBS executives would only say that it wasn't what was wrong with "Unforgettable," but what was right with the new stuff. If that doesn't sound too clear, you should understand this: The show might return for a summer airing in 2012 with a 13-episode slate. We have seen this kind of network hedging before concerning popular shows that have been abandoned. Warner Bros. moved its "Southland" show from NBC to TNT; former ABC "Cougar Town" will go to TBS. Former Fox show "Arrested Development" will now get a shot on Netflix. TV producers -- like Sony Pictures Television in the case of "Unforgettable" -- also believe that the money sunk into a series shouldn't go to waste. After around four seasons of episodes, a show can theoretically make back its investment should there be some sort of aftermarket -- syndication, cable, or new digital platforms. What isn't clear is what becomes of development for future TV shows and their renewal process. Where do advertisers fit into this? Perhaps that doesn't matter. Unless there is some specific branded entertainment association in these shows -- mostly in scripted TV series -- there isn't much advertiser loss. We like to think our networks are a consistent bunch, especially CBS. It doesn't seem to replace many TV shows year in and year out. Still, in a more perfect world, perhaps, TV shows with some decent level of audience association -- and especially those with a big value of some 12 million regular viewers -- should continue.
San Mateo-based Adap.tv Thursday announced its Campaign Optimizer for video, a "first-of-its-kind technology" that predicts the results of a campaign before running a single impression. The Campaign Optimizer will utilize historical data to analyze the impressions and predict results, which Adap.tv says will be accurate. Media buyers will be able to use Campaign Optimizer to predict the effects of specific changes to a campaign. For example, buyers can adjust their goals for a specific ad and see the projected trade-off between price and performance, as well as the impact on available inventory. "[Our] Campaign Optimizer takes the mystery out of video advertising performance by providing media buyers with the information and tools they need to create the results they want," said Toby Gabriner, president of Adap.tv in a statement. Capaign Optimizer will be available to platform and marketplace buyers in July 2012.