SearchLove London 2018 - Julie Scott - No one wants to watch another commercialDistilled
The document provides an overview of Onion Labs, the in-house content division of satirical news publication The Onion. It describes Onion Labs as a full-service content agency that leverages The Onion's comedy writers and brand expertise to create engaging branded content. Onion Labs works with media companies, publishers, and brands to develop social video, creative campaigns, and strategic partnerships based on "relatable human truths" identified through The Onion's comedic lens. Examples of Onion Labs campaigns for brands like American Honey, KIND, and McDonald's are highlighted to illustrate how the agency's work achieves engagement and awareness for clients.
This document describes Soi TV, the first social TV network for Hispanics. Soi TV aims to transform the opinions of Latino audiences into entertainment through a concept called "Opitainment", which combines opinions and entertainment. Soi TV monitors the entire process of public opinion from start to finish. The target audience is "Connected Hispanics", Latinos between 18-40 who want to express themselves on social media. Soi TV currently reaches 66% of Hispanic households and is seeking more pay TV distribution deals. It offers various original programming like talk shows, reality shows, telenovelas, and docudramas.
Presented at TMKedu by Sean Galligan on July 16, 2014
Have you heard about traditional media but aren't quite sure what it is? This presentation shares how to plan and buy traditional media and will give you some context on why advertisers use it and how you should think about it. Each medium is different in its own way and this presentation explores the nuances of each and how they are adapting in today's digital landscape.
Brands in the food and beverage industry are entering the live streaming space through platforms like Periscope and Meerkat. Popular brands like Mountain Dew, Starbucks, Nestle, and Red Bull are using live streaming to give customers a behind-the-scenes look, engage influencers to promote campaigns, and create an exclusive experience for viewers. While live streaming is new for marketing, it allows brands to connect with customers in real-time and build conversations through interactive content.
Planning Hype - Engineering hype before a product launchJulian Cole
1. The document discusses strategies for generating hype and interest for a product before its launch, known as "planning hype".
2. It identifies five key triggers that can be used to create planning hype: scarcity, signalling, credibility, curiosity gaps, and creating a sense of FOMO.
3. Examples are provided for each trigger, describing real campaigns that successfully used those techniques to generate excitement and demand for products before they were available.
Media Planning 101, CU Presentation, 5-18-14Lisa Christy
Lisa Parente Christy provides an overview of media planning in 3 principles: 1) Be stupid and find out what's going on, 2) Luck is the residue of design, focusing on targeting, objectives, storytelling, marketplace and budget, 3) Use each medium's strengths to build relationships. She then discusses selecting media, explaining the strengths and metrics of television, digital, print, out of home, and radio. The key is finding the right moments for your audience to receive your message in the best way for your brand's value.
It seems like everyone is Live Streaming these days! Whether it's Periscope or others, the latest wave in mobile-first engagement is live streaming.
So what is this thing? Is it social media? What platform/s do we use? Who else is doing it? Competitors? Other companies? Who knows how to do this internally? Are there any experts to call? Al Roker Entertainment's Jon Burk takes a deep dive.
YMARKETING SUPER BOWL SOCIAL BRAND SCOREBOARD REPORTBoris Loukanov
The document provides an overview of a report analyzing the digital impact of 2011 Super Bowl XLV advertisements on social media, brand awareness, and consumer interest. It describes the project goals of measuring key social media metrics like Facebook likes, Twitter mentions, and YouTube views for brands advertised during the Super Bowl. The report analyzed 21 key performance indicators from tools like Topsy, TweetVolume, and SocialMention and found the most important metrics were related to growth in social media followers and engagement on platforms like Facebook, Twitter, and YouTube.
SearchLove London 2018 - Julie Scott - No one wants to watch another commercialDistilled
The document provides an overview of Onion Labs, the in-house content division of satirical news publication The Onion. It describes Onion Labs as a full-service content agency that leverages The Onion's comedy writers and brand expertise to create engaging branded content. Onion Labs works with media companies, publishers, and brands to develop social video, creative campaigns, and strategic partnerships based on "relatable human truths" identified through The Onion's comedic lens. Examples of Onion Labs campaigns for brands like American Honey, KIND, and McDonald's are highlighted to illustrate how the agency's work achieves engagement and awareness for clients.
This document describes Soi TV, the first social TV network for Hispanics. Soi TV aims to transform the opinions of Latino audiences into entertainment through a concept called "Opitainment", which combines opinions and entertainment. Soi TV monitors the entire process of public opinion from start to finish. The target audience is "Connected Hispanics", Latinos between 18-40 who want to express themselves on social media. Soi TV currently reaches 66% of Hispanic households and is seeking more pay TV distribution deals. It offers various original programming like talk shows, reality shows, telenovelas, and docudramas.
Presented at TMKedu by Sean Galligan on July 16, 2014
Have you heard about traditional media but aren't quite sure what it is? This presentation shares how to plan and buy traditional media and will give you some context on why advertisers use it and how you should think about it. Each medium is different in its own way and this presentation explores the nuances of each and how they are adapting in today's digital landscape.
Brands in the food and beverage industry are entering the live streaming space through platforms like Periscope and Meerkat. Popular brands like Mountain Dew, Starbucks, Nestle, and Red Bull are using live streaming to give customers a behind-the-scenes look, engage influencers to promote campaigns, and create an exclusive experience for viewers. While live streaming is new for marketing, it allows brands to connect with customers in real-time and build conversations through interactive content.
Planning Hype - Engineering hype before a product launchJulian Cole
1. The document discusses strategies for generating hype and interest for a product before its launch, known as "planning hype".
2. It identifies five key triggers that can be used to create planning hype: scarcity, signalling, credibility, curiosity gaps, and creating a sense of FOMO.
3. Examples are provided for each trigger, describing real campaigns that successfully used those techniques to generate excitement and demand for products before they were available.
Media Planning 101, CU Presentation, 5-18-14Lisa Christy
Lisa Parente Christy provides an overview of media planning in 3 principles: 1) Be stupid and find out what's going on, 2) Luck is the residue of design, focusing on targeting, objectives, storytelling, marketplace and budget, 3) Use each medium's strengths to build relationships. She then discusses selecting media, explaining the strengths and metrics of television, digital, print, out of home, and radio. The key is finding the right moments for your audience to receive your message in the best way for your brand's value.
It seems like everyone is Live Streaming these days! Whether it's Periscope or others, the latest wave in mobile-first engagement is live streaming.
So what is this thing? Is it social media? What platform/s do we use? Who else is doing it? Competitors? Other companies? Who knows how to do this internally? Are there any experts to call? Al Roker Entertainment's Jon Burk takes a deep dive.
YMARKETING SUPER BOWL SOCIAL BRAND SCOREBOARD REPORTBoris Loukanov
The document provides an overview of a report analyzing the digital impact of 2011 Super Bowl XLV advertisements on social media, brand awareness, and consumer interest. It describes the project goals of measuring key social media metrics like Facebook likes, Twitter mentions, and YouTube views for brands advertised during the Super Bowl. The report analyzed 21 key performance indicators from tools like Topsy, TweetVolume, and SocialMention and found the most important metrics were related to growth in social media followers and engagement on platforms like Facebook, Twitter, and YouTube.
The Content Show | Broadcast Industry Event | NYC Television Week | nyctelevi...Alison Green
The document provides information about The Content Show, a conference and marketplace covering programming, development and distribution for various types of content. It will include conference sessions, a networking lounge, and presentation rooms where companies can pitch content. The tentative schedule outlines the keynote speakers and panels on the first two days, which will discuss topics like building network brands, must-see event TV, and who's laughing now in comedy. It is a must-attend event for leaders in cable, digital, broadcasting, production and other related industries.
This document provides an event schedule for EiTV 2018 with descriptions of various panels and sessions occurring on August 22-23. Some of the key events include:
- A session on BBC Three's success moderated by broadcaster Alice Levine and featuring Controller Damian Kavanagh.
- A panel on the future of television including how virtual reality and personalized recommendations may change content.
- YouTube's Head of Originals Luke Hyams discussing commissioning strategies and opportunities for UK indies.
- Comedian and writer Michaela Coel delivering the annual James MacTaggart Memorial Lecture.
- Netflix VP Brandon Riegg outlining his vision for unscripted programming and revealing upcoming
The document discusses how television is changing in the 21st century due to factors like instant access to content online, binge-watching, and changing advertising models. It notes that less than half of 16-24 year olds in the UK watch traditional live television. Instead, sites like Netflix and YouTube allow on-demand viewing. Binge-watching of serialized shows has become common. Advertisers are adapting to new formats like product placement, addressable ads, and shorter commercials. The future of television is pointed towards more online streaming and on-demand viewing, with consumers expecting customization and personalization.
This document provides an overview and history of the Upfronts and NewFronts events. The Upfronts have existed since the 1940s as a way for TV networks to showcase upcoming programming to advertisers and negotiate ad deals. In recent years, the Upfronts have expanded to include digital and streaming platforms. The NewFronts began in 2008 as a digital-focused version for online publishers to similarly pitch advertisers. Over time, the line between the two events has blurred as digital publishers move into TV and linear players expand onto digital. This year's Upfronts and NewFronts will continue this convergence trend.
NBC dominated Thursday night primetime television in the 1990s with scripted sitcoms and dramas like Friends and ER. This changed in the 2000s as reality television grew in popularity due to lower production costs. NBC chairman Jeff Zucker announced in 2005 that the network would devote the first hour of primetime each night to unscripted reality shows and reduce scripted programming. This shift reflected reality TV's growing role in television and its business model of reducing costs while increasing opportunities for product placements and audience engagement across media platforms.
NBC dominated Thursday night primetime television in the 1990s with scripted sitcoms and dramas like Friends and ER. This began to change in the 2000s as reality television grew in popularity due to lower production costs. NBC chairman Jeff Zucker announced in 2005 that the network would devote the first hour of primetime each night to unscripted reality shows and reduce scripted programming. This shift reflected the growing importance of reality TV and prepackaged formats to television's business model and its ability to generate revenue through product placements, merchandising, and audience engagement across multiple platforms.
What Old Media can teach New Media: Media Convergence & Integration, Social M...Howard Greenstein
The document discusses various topics related to media convergence and integration, social media, and professionalism in digital communications. It provides a history of different media forms and how they have converged. It also discusses how various media, like television, computers, and mobile devices, are integrated and how users consume content across multiple screens. The document advocates for professionalism when creating and sharing content online.
Tru Optik is a digital media intelligence company that provides audience insight and advertising solutions using over-the-top (OTT) media consumption data to target Hispanics. They capture, store, and analyze peer-to-peer (P2P) file sharing activity in real time to understand media consumption patterns. Hispanics, especially millennial Hispanics, are heavy users of P2P networks and OTT services to access content unavailable elsewhere or in their preferred language of English. Understanding P2P network consumption data provides insights into content performance that can help media companies fully value Hispanic-targeted initiatives and better target Hispanic consumers for OTT services.
Landsman Greenstein Bar Camp Smc Aug 8 2008 NycDean Landsman
The document discusses various topics related to media convergence and integration, social media, and professionalism in using social media. It provides an overview of the evolution of different media forms from early forms like cave drawings to modern television, radio, and the three screen world of TV, computer, and mobile devices. It also discusses how social media can be used to support other media and highlights the importance of professionalism when using social media.
The wrong mans digital campaign overviewwillpsaunders
This document provides a case study of the digital campaign for the BBC comedy series "The Wrong Mans". It summarizes:
1) A cross-functional team was formed to collaborate on a campaign that extended beyond just the first airing and throughout the series.
2) The campaign included both "out of world" shareable content and an "in world" immersive experience to appeal to different audience motivations.
3) Analytics were used to monitor engagement and the campaign was adjusted weekly based on what content was most popular.
4) Unconventional tactics like a live tweet-along helped drive viewership despite scheduling conflicts.
5) The coordinated digital campaign was successful, with the
1) Managed viral video campaigns require activating loyal audiences to spread videos intentionally rather than relying on organic sharing. Early examples like Mystery Science Theatre 3000 and South Park told fans to directly share and copy videos.
2) Short, digestible video content under 5 minutes works best for virality. Early viral hits like "Wassup" in 1998 showed videos need great creative ideas.
3) The Adzoomi platform launched in 2008 to connect advertisers, creators, and publishers to strategically distribute branded video content and incentivize sharing through social networks and a customizable video player.
A curation of the blog over at simonstaffans.com, together with interviews with some very sharp minds from different areas of the multiplatform storytelling field - Brian Clark, Christy Dena, Jeff Gomez, Ian Ginn, Andrea Phillips, Robert Pratten, Inga Von Staden, Nuno Bernardo, Michael Monello, Chantal Rickards, Steve Stokes, Yomi Ayeni, Scott Walker, Lance Weiler, Liz Rosenthal and Nick DeMartino.
The document provides a marketing plan for Pringles potato chips. It identifies Pringles' target audience as Millennials aged 20-35 years old. The plan aims to strengthen Pringles' position as the "fun" potato chip brand by offering consumers an experience that goes beyond traditional snacking. This will be done through a campaign using television, print, and social media over seven months. The objectives are to raise awareness of Pringles' "Pop, Crunch, Create" campaign through YouTube and Instagram and achieve at least 50,000 impressions and 1,000 views on YouTube.
The document outlines a promotional strategy for a new FX show about Russian spies. It proposes targeting current male viewers aged 25-54 as well as untapped males and females aged 18-49. The strategy involves video, digital, mobile, social media, print, radio, and out-of-home advertising. It aims to generate over 360 million impressions over three weeks leading up to the show's premiere, with the goal of illustrating how the show pushes boundaries and exciting current and new viewers. Key elements include emphasizing the show's theme of duality and recruiting actors to portray KGB agents in major cities.
The document discusses how digital technologies and data are transforming television content. Broadcasters are embracing digital platforms to grow audiences through live-tweeting, additional online content, and making their content more trackable and measurable. Formats are also changing as audiences expect to access content anywhere on connected devices. Successful shows are being adapted globally through co-productions and alliances between broadcasters. However, broadcasters must balance the demands of real-time audiences with their responsibilities as news providers.
The document discusses how marketers are leveraging second screens like smartphones and tablets to engage with viewers watching television. It outlines 10 ways marketers are using the second screen, such as incentivizing ad engagement, gamifying TV ads, enabling real-time interactivity, and creating opportunities for transmedia storytelling across devices. It also provides background on new behaviors like social TV and tools like apps that sync with television content. Experts believe the second screen could improve brand recall and purchase intent when used to extend television campaigns.
Making the news in 2017 - what does it take to thrive in a post-print world? ...CharityComms
Tim Harrison, director of tracking and research and Jonny Harper, researcher, nfpSynergy
Visit the CharityComms website to view slides from past events, see what events we have coming up and to check out what else we do: www.charitycomms.org.uk
DigitasLBi, the only agency co-founder and presenter of the Digital Content NewFronts, brings you a wrap-up of what matters most for brands coming out of NewFronts 2017.
The document discusses the history and rise of talk shows on television from the 1980s to present day. It notes that talk shows started gaining popularity in the 1980s with shows hosted by Geraldo Rivera, Phil Donahue, and Sally Jesse Rafael. By the 1990s, talk shows had taken over most of the daytime television slots. Current popular talk shows like The Oprah Winfrey Show focus on improving society and quality of life, while others like The Jerry Springer Show feature more controversial topics. However, some criticize talk shows for exploiting people's lives and exposing children to inappropriate topics.
Digital media is undergoing disruption in Canada. Younger audiences are watching streaming services like Netflix instead of traditional TV, while older audiences still watch TV. This is causing local TV stations to close and $350 million less to be invested in Canadian content by 2020. Books, newspapers and magazines are also disrupted as audiences consume content online and on mobile devices. Digital advertising revenues are rising as budgets shift online. The music industry has transitioned to digital sales and streaming services like Spotify. While the games industry was always digital, Canadians are mostly employed to design games for global markets. Incubators and accelerators are helping media startups launch with resources like MaRS Discovery District and Ryerson University's Digital Media Zone.
Discover the cutting-edge telemetry solution implemented for Alan Wake 2 by Remedy Entertainment in collaboration with AWS. This comprehensive presentation dives into our objectives, detailing how we utilized advanced analytics to drive gameplay improvements and player engagement.
Key highlights include:
Primary Goals: Implementing gameplay and technical telemetry to capture detailed player behavior and game performance data, fostering data-driven decision-making.
Tech Stack: Leveraging AWS services such as EKS for hosting, WAF for security, Karpenter for instance optimization, S3 for data storage, and OpenTelemetry Collector for data collection. EventBridge and Lambda were used for data compression, while Glue ETL and Athena facilitated data transformation and preparation.
Data Utilization: Transforming raw data into actionable insights with technologies like Glue ETL (PySpark scripts), Glue Crawler, and Athena, culminating in detailed visualizations with Tableau.
Achievements: Successfully managing 700 million to 1 billion events per month at a cost-effective rate, with significant savings compared to commercial solutions. This approach has enabled simplified scaling and substantial improvements in game design, reducing player churn through targeted adjustments.
Community Engagement: Enhanced ability to engage with player communities by leveraging precise data insights, despite having a small community management team.
This presentation is an invaluable resource for professionals in game development, data analytics, and cloud computing, offering insights into how telemetry and analytics can revolutionize player experience and game performance optimization.
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The Content Show | Broadcast Industry Event | NYC Television Week | nyctelevi...Alison Green
The document provides information about The Content Show, a conference and marketplace covering programming, development and distribution for various types of content. It will include conference sessions, a networking lounge, and presentation rooms where companies can pitch content. The tentative schedule outlines the keynote speakers and panels on the first two days, which will discuss topics like building network brands, must-see event TV, and who's laughing now in comedy. It is a must-attend event for leaders in cable, digital, broadcasting, production and other related industries.
This document provides an event schedule for EiTV 2018 with descriptions of various panels and sessions occurring on August 22-23. Some of the key events include:
- A session on BBC Three's success moderated by broadcaster Alice Levine and featuring Controller Damian Kavanagh.
- A panel on the future of television including how virtual reality and personalized recommendations may change content.
- YouTube's Head of Originals Luke Hyams discussing commissioning strategies and opportunities for UK indies.
- Comedian and writer Michaela Coel delivering the annual James MacTaggart Memorial Lecture.
- Netflix VP Brandon Riegg outlining his vision for unscripted programming and revealing upcoming
The document discusses how television is changing in the 21st century due to factors like instant access to content online, binge-watching, and changing advertising models. It notes that less than half of 16-24 year olds in the UK watch traditional live television. Instead, sites like Netflix and YouTube allow on-demand viewing. Binge-watching of serialized shows has become common. Advertisers are adapting to new formats like product placement, addressable ads, and shorter commercials. The future of television is pointed towards more online streaming and on-demand viewing, with consumers expecting customization and personalization.
This document provides an overview and history of the Upfronts and NewFronts events. The Upfronts have existed since the 1940s as a way for TV networks to showcase upcoming programming to advertisers and negotiate ad deals. In recent years, the Upfronts have expanded to include digital and streaming platforms. The NewFronts began in 2008 as a digital-focused version for online publishers to similarly pitch advertisers. Over time, the line between the two events has blurred as digital publishers move into TV and linear players expand onto digital. This year's Upfronts and NewFronts will continue this convergence trend.
NBC dominated Thursday night primetime television in the 1990s with scripted sitcoms and dramas like Friends and ER. This changed in the 2000s as reality television grew in popularity due to lower production costs. NBC chairman Jeff Zucker announced in 2005 that the network would devote the first hour of primetime each night to unscripted reality shows and reduce scripted programming. This shift reflected reality TV's growing role in television and its business model of reducing costs while increasing opportunities for product placements and audience engagement across media platforms.
NBC dominated Thursday night primetime television in the 1990s with scripted sitcoms and dramas like Friends and ER. This began to change in the 2000s as reality television grew in popularity due to lower production costs. NBC chairman Jeff Zucker announced in 2005 that the network would devote the first hour of primetime each night to unscripted reality shows and reduce scripted programming. This shift reflected the growing importance of reality TV and prepackaged formats to television's business model and its ability to generate revenue through product placements, merchandising, and audience engagement across multiple platforms.
What Old Media can teach New Media: Media Convergence & Integration, Social M...Howard Greenstein
The document discusses various topics related to media convergence and integration, social media, and professionalism in digital communications. It provides a history of different media forms and how they have converged. It also discusses how various media, like television, computers, and mobile devices, are integrated and how users consume content across multiple screens. The document advocates for professionalism when creating and sharing content online.
Tru Optik is a digital media intelligence company that provides audience insight and advertising solutions using over-the-top (OTT) media consumption data to target Hispanics. They capture, store, and analyze peer-to-peer (P2P) file sharing activity in real time to understand media consumption patterns. Hispanics, especially millennial Hispanics, are heavy users of P2P networks and OTT services to access content unavailable elsewhere or in their preferred language of English. Understanding P2P network consumption data provides insights into content performance that can help media companies fully value Hispanic-targeted initiatives and better target Hispanic consumers for OTT services.
Landsman Greenstein Bar Camp Smc Aug 8 2008 NycDean Landsman
The document discusses various topics related to media convergence and integration, social media, and professionalism in using social media. It provides an overview of the evolution of different media forms from early forms like cave drawings to modern television, radio, and the three screen world of TV, computer, and mobile devices. It also discusses how social media can be used to support other media and highlights the importance of professionalism when using social media.
The wrong mans digital campaign overviewwillpsaunders
This document provides a case study of the digital campaign for the BBC comedy series "The Wrong Mans". It summarizes:
1) A cross-functional team was formed to collaborate on a campaign that extended beyond just the first airing and throughout the series.
2) The campaign included both "out of world" shareable content and an "in world" immersive experience to appeal to different audience motivations.
3) Analytics were used to monitor engagement and the campaign was adjusted weekly based on what content was most popular.
4) Unconventional tactics like a live tweet-along helped drive viewership despite scheduling conflicts.
5) The coordinated digital campaign was successful, with the
1) Managed viral video campaigns require activating loyal audiences to spread videos intentionally rather than relying on organic sharing. Early examples like Mystery Science Theatre 3000 and South Park told fans to directly share and copy videos.
2) Short, digestible video content under 5 minutes works best for virality. Early viral hits like "Wassup" in 1998 showed videos need great creative ideas.
3) The Adzoomi platform launched in 2008 to connect advertisers, creators, and publishers to strategically distribute branded video content and incentivize sharing through social networks and a customizable video player.
A curation of the blog over at simonstaffans.com, together with interviews with some very sharp minds from different areas of the multiplatform storytelling field - Brian Clark, Christy Dena, Jeff Gomez, Ian Ginn, Andrea Phillips, Robert Pratten, Inga Von Staden, Nuno Bernardo, Michael Monello, Chantal Rickards, Steve Stokes, Yomi Ayeni, Scott Walker, Lance Weiler, Liz Rosenthal and Nick DeMartino.
The document provides a marketing plan for Pringles potato chips. It identifies Pringles' target audience as Millennials aged 20-35 years old. The plan aims to strengthen Pringles' position as the "fun" potato chip brand by offering consumers an experience that goes beyond traditional snacking. This will be done through a campaign using television, print, and social media over seven months. The objectives are to raise awareness of Pringles' "Pop, Crunch, Create" campaign through YouTube and Instagram and achieve at least 50,000 impressions and 1,000 views on YouTube.
The document outlines a promotional strategy for a new FX show about Russian spies. It proposes targeting current male viewers aged 25-54 as well as untapped males and females aged 18-49. The strategy involves video, digital, mobile, social media, print, radio, and out-of-home advertising. It aims to generate over 360 million impressions over three weeks leading up to the show's premiere, with the goal of illustrating how the show pushes boundaries and exciting current and new viewers. Key elements include emphasizing the show's theme of duality and recruiting actors to portray KGB agents in major cities.
The document discusses how digital technologies and data are transforming television content. Broadcasters are embracing digital platforms to grow audiences through live-tweeting, additional online content, and making their content more trackable and measurable. Formats are also changing as audiences expect to access content anywhere on connected devices. Successful shows are being adapted globally through co-productions and alliances between broadcasters. However, broadcasters must balance the demands of real-time audiences with their responsibilities as news providers.
The document discusses how marketers are leveraging second screens like smartphones and tablets to engage with viewers watching television. It outlines 10 ways marketers are using the second screen, such as incentivizing ad engagement, gamifying TV ads, enabling real-time interactivity, and creating opportunities for transmedia storytelling across devices. It also provides background on new behaviors like social TV and tools like apps that sync with television content. Experts believe the second screen could improve brand recall and purchase intent when used to extend television campaigns.
Making the news in 2017 - what does it take to thrive in a post-print world? ...CharityComms
Tim Harrison, director of tracking and research and Jonny Harper, researcher, nfpSynergy
Visit the CharityComms website to view slides from past events, see what events we have coming up and to check out what else we do: www.charitycomms.org.uk
DigitasLBi, the only agency co-founder and presenter of the Digital Content NewFronts, brings you a wrap-up of what matters most for brands coming out of NewFronts 2017.
The document discusses the history and rise of talk shows on television from the 1980s to present day. It notes that talk shows started gaining popularity in the 1980s with shows hosted by Geraldo Rivera, Phil Donahue, and Sally Jesse Rafael. By the 1990s, talk shows had taken over most of the daytime television slots. Current popular talk shows like The Oprah Winfrey Show focus on improving society and quality of life, while others like The Jerry Springer Show feature more controversial topics. However, some criticize talk shows for exploiting people's lives and exposing children to inappropriate topics.
Digital media is undergoing disruption in Canada. Younger audiences are watching streaming services like Netflix instead of traditional TV, while older audiences still watch TV. This is causing local TV stations to close and $350 million less to be invested in Canadian content by 2020. Books, newspapers and magazines are also disrupted as audiences consume content online and on mobile devices. Digital advertising revenues are rising as budgets shift online. The music industry has transitioned to digital sales and streaming services like Spotify. While the games industry was always digital, Canadians are mostly employed to design games for global markets. Incubators and accelerators are helping media startups launch with resources like MaRS Discovery District and Ryerson University's Digital Media Zone.
Similar to Natpe 2018 article - Numerical Advantage (20)
Discover the cutting-edge telemetry solution implemented for Alan Wake 2 by Remedy Entertainment in collaboration with AWS. This comprehensive presentation dives into our objectives, detailing how we utilized advanced analytics to drive gameplay improvements and player engagement.
Key highlights include:
Primary Goals: Implementing gameplay and technical telemetry to capture detailed player behavior and game performance data, fostering data-driven decision-making.
Tech Stack: Leveraging AWS services such as EKS for hosting, WAF for security, Karpenter for instance optimization, S3 for data storage, and OpenTelemetry Collector for data collection. EventBridge and Lambda were used for data compression, while Glue ETL and Athena facilitated data transformation and preparation.
Data Utilization: Transforming raw data into actionable insights with technologies like Glue ETL (PySpark scripts), Glue Crawler, and Athena, culminating in detailed visualizations with Tableau.
Achievements: Successfully managing 700 million to 1 billion events per month at a cost-effective rate, with significant savings compared to commercial solutions. This approach has enabled simplified scaling and substantial improvements in game design, reducing player churn through targeted adjustments.
Community Engagement: Enhanced ability to engage with player communities by leveraging precise data insights, despite having a small community management team.
This presentation is an invaluable resource for professionals in game development, data analytics, and cloud computing, offering insights into how telemetry and analytics can revolutionize player experience and game performance optimization.
Build applications with generative AI on Google CloudMárton Kodok
We will explore Vertex AI - Model Garden powered experiences, we are going to learn more about the integration of these generative AI APIs. We are going to see in action what the Gemini family of generative models are for developers to build and deploy AI-driven applications. Vertex AI includes a suite of foundation models, these are referred to as the PaLM and Gemini family of generative ai models, and they come in different versions. We are going to cover how to use via API to: - execute prompts in text and chat - cover multimodal use cases with image prompts. - finetune and distill to improve knowledge domains - run function calls with foundation models to optimize them for specific tasks. At the end of the session, developers will understand how to innovate with generative AI and develop apps using the generative ai industry trends.
We are pleased to share with you the latest VCOSA statistical report on the cotton and yarn industry for the month of May 2024.
Starting from January 2024, the full weekly and monthly reports will only be available for free to VCOSA members. To access the complete weekly report with figures, charts, and detailed analysis of the cotton fiber market in the past week, interested parties are kindly requested to contact VCOSA to subscribe to the newsletter.
Discovering Digital Process Twins for What-if Analysis: a Process Mining Appr...Marlon Dumas
This webinar discusses the limitations of traditional approaches for business process simulation based on had-crafted model with restrictive assumptions. It shows how process mining techniques can be assembled together to discover high-fidelity digital twins of end-to-end processes from event data.
Did you know that drowning is a leading cause of unintentional death among young children? According to recent data, children aged 1-4 years are at the highest risk. Let's raise awareness and take steps to prevent these tragic incidents. Supervision, barriers around pools, and learning CPR can make a difference. Stay safe this summer!
A gentle exploration of Retrieval Augmented Generation
Natpe 2018 article - Numerical Advantage
1. DAY 1. Tuesday January 16, 2018
DAILYBE A PART OF IT
VISIT US AT NATPE
Chateau Tower
Penthouse Floor, Suite 1540
2. 5-8 News
Reporting from the NATPE floor.
10 Welcome: JP Bommel
NATPE’s president and CEO.
14 Profile: Soledad O’Brien
Broadcast journalist and executive producer.
16 New NATPE Board Members
Cindy Holland, Mina Lefevre, Pearlena
Igbokwe and Sharon Vuong join the team.
25 NATPE NXTGN Advisory Board
Nick Buzzell, chair of NATPE NXTGN, on the
ambitions of the crossplatform initiative.
31 Feature: Over The Top
NATPE’s new Streaming Summit arrives just in
time to help you navigate turbulent times.
54 Profile: Michael Bloom
President of indie outfit First Look Media.
57 On the Agenda: Open Development Sessions
Believe Entertainment’s Dan Goodman looks
at what NATPE’s latest offering will provide.
59 New NATPE Pavilions
A tour of countries on the exhibition floor.
67 Q&A: Roma Khanna, Revolt Media & TV
CEO of Sean Combs’ hip-hop network.
68 Profile: Rüdiger Böss
ProSiebenSat.1 Media’s executive VP of
group programming acquisitions.
71 Q&A: Juan Pablo Matarredona
Newly launched Mexican family channel
Imagen’s director of entertainment.
73 Profile: Alon Shtruzman
CEO of Israeli distributor Keshet International.
75 Profile: Dawn McCarthy-Simpson
Pact U.K.’s director of int’l development.
77 Six of the Best: NATPE Buyers
Leading broadcasters reveal their wishlists.
78 Q&A: Özge Bulut Maraşlı
CEO of Kanal D and its production companies.
80 Profile: Frank Cicha
Fox Television Stations’ programming boss
82 Q&A: Anthony Hemingway
The director of FX’s The People vs OJ
Simpson talks true crime.
84 Profile: Jeff Weber
CEO of SVoD content provider Zone TV.
86 Backstop: Alejandro Rojas, Parrot Analytics
Going local may be a key trend but do we
really know what our audiences want?
NATPE Daily 2018 . Day 1 . January 16 Upfront
3Tweet your news #NATPEMiami and follow us @NATPE
TODAY AT NATPE – All sessions at Eden Roc Resort unless otherwise shown
OCEAN TOWER SALON 1B/C
KEY BISCAYNE A
MONA LISA BALLROOM
OCEAN TOWER SALON 2A
FONTAINEBLEAU, POOLSIDE
OCEAN TOWER SALON 2B/C
IN THIS EDITION
9-9.10 a.m.
Welcome & Opening Remarks With JP Bommel
and Andy Kaplan
9.15-10.00 a.m.
View From the Street: How Investors Interpret
Change in the Media Industry
10.15-11.00 a.m.
International Productions: An Executive
Leadership Discussion
11.15-12.00 p.m..
NATPE-x – Facebook Watch With Ricky Van Veen
2-2.45 p.m.
Dear White People: A Deep Dive
3-3.45 p.m.
Variety Presents the Global Creatives to Watch
Report
4-5.15 p.m.
NATPE Miami Streaming Summit
• Welcome & Intro with Mark Greenberg
• Visionary Insight with Shahid Kahn
• Panel: Old Guard vs New Guard
• Platforms & OTT Meet Up – Open to all
attendees
10-10.45 a.m.
Over The Top: How Broadcasters & Advertisers
Leverage OTT - TV’s Latest Growth Opportunity
Sponsored by Nielsen
11.15 a.m-12.15 p.m.
The Next New Normal
2-2.45 p.m.
Breaking the News: Trends, Formats and
Journalistic Integrity
3-3.45 p.m.
The Science of Popularity: Content Demand in
Latin America
Sponsored by Parrot Analytics
5-5.45 p.m.
The Family Fortunes? Sponsored by All3Media
6-8.00 p.m. Opening Night Party
All attendees welcome, event badge required | Title Sponsor:
Kanal D | Premier sponsors: Olympusat and Signal Media.
With a live performance by Elvis Crespo
MASTER CLASSES
Limited space – arrive early to secure your seat
10-10.45 a.m.
Legal: Tech: Disruption & Evolution in the
Television Industry
11-11.45 a.m.
Ripped From the Headlines: Legal Issues in
Programming Based on Real Life Stories
Sponsored by Greenberg Glusker
1-2.00 p.m.
Can We Stop Pitching?
2.30-3.30 p.m.
WTF’s Wrong With My Idea?
12.30-2.00 p.m.
NATPE Unscripted Breakthrough Awards Lunch
Ticket required | Sponsored by CAA and WE tv
3-3.45 p.m.
ROI or FYI: Stop Interrupting & Start Entertaining
4-4.30 p.m.
Developing Innovative Global Consumer Product
Strategies
4.45-5.15 p.m.
Show Me the Money! Incentives & Opportunities in
South Florida
5.30-5.50 p.m.
Pitch & Play Live! Awards Presentation
10-10.30 a.m.
How to Build a New Media Company ...and Mean It
With Michael Bloom, president, First Look Media &
Rich Greenfield, BTIG media analyst
Sponsored by First Look Media
10.45-11.15 a.m.
NATPE-x – Music Connects: The Bridge to
Millennial & Gen Z Audiences
11.30–12.00 p.m.
NATPE-x – Why Future Linear TV Networks Will Be
Powered by AI and What It Means for You
Sponsored by ZoneTV
3-3.30 p.m.
Human Context: Going Beyond Big Data
3.45-4.15 p.m.
Around the World in 5 Years
4.30-5.00 p.m.
Truth Meets Scripted: In Conversation With
Anthony Hemingway
3. The award-winning official NATPE Daily magazine is published under contract by C21 Media Ltd (www.c21media.net). Editor: Ed Waller.
Reporters: Jonathan Webdale, Clive Whittingham, Richard Middleton, Adam Benzine, John Elmes, Ryan Watson, Marc Berman, John Hazelton,
Nick Kenny, Jack Napier. Chief sub editor: Gary Smitherman. Sub editor: John Winfield. Photographer: Simon Wilkinson. Production Manager:
Laura Stevens. NATPE Daily client contacts: Suzanne Gutierrez, Maria Moscowitz, Evie Silvers, Gary Mitchell, Mingfen Lee, Murtuza Kagalwala,
Elisa Aquino, Elina Nesterova, Rustam Kasymov. NATPE executive liaison: Doug Finberg, Natgeda Remy, Hiro Zeoli. Materials coordinator:
Pamela Silverman. Proof reader: Ryan Rodarte. NATPE Daily client contacts (C21Media): Odiri Iwuji, Peter Treacher. Editor-in-chief &
managing director, C21Media: David Jenkinson. Meet the NATPE Daily team in Star in the Eden Roc Hotel or email press@c21media.net.
W
e’ve all heard the battle cry:
going local is the way to gain the
competitive advantage against the
big international competitors.
But in Latin America, as well as many other
markets around the world, audiences are being
exposed to a sustained global supply of quality
content and are becoming more fragmented and
demanding. This reality is challenging media
companies to create high-quality content that
attracts viewers in large enough numbers to
support their production budgets.
So how do we really know what’s resonating
with audiences? Is it possible to build a strategy
that will tip the competitive odds in your favor?
And are there any definable trends?
Conventional ratings are proving less and less
accurate at really gauging what’s striking a chord
with viewers, so media companies are looking to
cull market intelligence from various sources,
such as social media, streaming, informational
sites and more.
In fact, leveraging big-data infrastructure,
these companies are now in a position to collect
and process more information about consumer
preferences than ever. Advances in artificial
intelligence are also making it possible to make
more reliable predictions about what types of
content will gain the public’s approval.
Using these technologies, we can now assess
the effectiveness of Latin American media
companies’ strategies. In particular, I was curious
about how audiences are engaging with biblical
storylines, biographical series, localized reality
shows and co-productions. Each of my findings
also led me to raise some questions about the
possible role of these technologies in the future.
Biblical content tends to travel well and
provides the flexibility of long-running
programming. Episodes of telenovelas with
biblical themes perform strongly. One of the
most successful examples, Record TV’s Os
Dez Mandamentos (The Ten Commandments),
has multiple seasons produced, showcasing
its capacity to meet ongoing public demand
by extending its storyline. With this in mind,
would it make sense to do semantic analysis of
new scripts to measure the degree to which they
resemble the tempo of biblical stories?
Biography series can also prove powerful
when kept short and manageable. While many
such shows fail to generate more demand than
the average title, there are stunning outliers,
such as TNT Latin America’s Hasta Que Te
Conoci, which captured 70% higher demand
than other similar biographical content.
Two factors may have contributed to its
success. First, it was very well produced, earning
an International Emmy nomination, and tightly
packaged into 13-episode format. Second, it
starred Juan Gabriel, whose widespread fame
throughout the region surely buoyed the series
to rise above the rest. Given this outcome,
should new biographical series be studied from
a perspective of how vibrant the fanbase may be
for the subject?
Localized reality formats can also perform
well, but the secret sauce for formats seems to
be in cooking shows. Demand for local versions
of well-known reality formats is higher than that
for the average title, and increases further when
cooking-themed franchises like MasterChef and
Bake Off are adapted to the local markets.
By analyzing hundreds of successes and
failures, can we pinpoint the local and global
ingredients that make adaptations winners?
Co-productions are an increasingly effective
strategy to significantly increase your audience
reach, with episodes of co-produced shows
doubling the demand captured by the average
title.ElRegresodeLucasandElSeñordelosCielos
are examples of successful co-productions.
Looking at the complete track record of their
individual teams, can we predict with certainty
if a co-production will deliver superior results?
These are just a few of the questions industry
players need to ask themselves to compete in an
era of constant change and rapid technological
innovation. As the stakes increase in the gamble
to attract larger audiences, measuring and
understanding scientific insights from audiences
becomes crucial to keep thriving in this business.
Technology is impacting the industry on many
fronts, but it is also facilitating understanding of
the complex underpinnings that drive audiences
to stick around. Companies that cultivate and
nurture this understanding of their audiences
will ultimately have more success and a better
hand to play against their competitors.
Going local is only half the formula for success, argues
Alejandro Rojas, regional director for Latin America at audience
measurement outfit Parrot Analytics.
Numerical
advantage
SAVE THE DATE: Parrot Analytics CEO
Wared Seger will discuss these
and other issues in The Science of
Popularity: Content Demand in Latin
America, taking place today at
3.00 p.m. in Ocean Tower Salon 2B/C.
BACKSTOP
Alejandro Rojas NATPE Daily 2018 . Day 1 . January 16
Follow Parrot Analytics on Twitter: @ParrotAnalytics Tweet your news #NATPEMiami and follow us @NATPE86