Posted by Mark Blei in : Uncategorized , See this MediaPost article-Eyes Wide Open: Video Usage Up, More Watch Cross-Platform
Posted by Mark Blei in : Uncategorized , The number of online video viewers will grow by more than two-thirds to 941 million in 2013, from 563 million in 2008, according to ABI Research.
The 2013 estimate represents just over one-half of the 1.8 billion consumers expected to use the Internet that year.
Although online video viewing is growing among Internet users worldwide, viewing varies greatly from country to country. More than three-quarters of consumers in Australia, Germany, India, Japan, the UK and the US surveyed in Q3 2008 by IBM Global Business Services said they watched video on their PCs—outpacing viewership for the world as a whole.
Read The rest—>Online Video Goes Global
Posted by Mark Blei in : Uncategorized , After years of regarding pirated video on YouTube as a threat, some major media companies are having a change of heart, treating it instead as an advertising opportunity.
In the last few months, CBS, Universal Music, Lionsgate, Electronic Arts and other companies have stopped prodding YouTube to remove unauthorized clips of their movies, music videos and other content and started selling advertising against them.
CBS may be the most surprising new business partner in that its sister company, Viacom, is still pursuing its acrimonious billion-dollar copyright lawsuit against YouTube’s owner, Google.
So far, the money is minimal ads appear on only a fraction of YouTube’s millions of videos but the move suggests a possible thaw in the chilly standoff between the online video giant and media companies. Getting into the good graces of media entities is seen as critical to the future of YouTube, which has struggled to show appreciable revenue for video ads.
“We don’t want to condone people taking our intellectual property and using it without our permission,” said Curt Marvis, the president of digital media at Lionsgate Entertainment, which owns films like “Dirty Dancing” and the “Saw” series of horror movies.
“But we also don’t like the idea of keeping fans of our products from being able to engage with our content.” he said. “For the most part, people who are uploading videos are fans of our movies. They’re not trying to be evil pirates, and they’re not trying to get revenue from it.”
Indeed, the YouTube users who post the content without permission will not share in the advertising revenue generated by their posts. Instead, it is split between the media companies and YouTube.
The infringing user receives an e-mail message with an ominous red banner saying “a YouTube partner made a copyright claim on one of your videos.” The e-mail message explains that the media company has “authorized the use of this content” and that viewers may see advertising on the video.
For example, a user-uploaded video for the music video for “Disturbia” by the artist Rihanna is still online, even though YouTube makes it easy to remove. The Rihanna video page was uploaded by a fan three weeks ago and has attracted 1.2 million views. It now features a prominent ad and a small disclaimer that cites the Universal Music Group as the owner.
Under pressure from media companies, YouTube introduced a technology last fall called Video ID which allowed copyright owners to compare the digital fingerprints of their videos with material on YouTube, then flag infringing material for removal.
It was widely expected, given the acrimony between the parties, that media companies would simply demand their material be taken down. But the technology offered an alternative, allowing the companies to “claim” the videos and start showing ads alongside them, creating a new revenue stream for both YouTube and the content owners.
YouTube executives say they have been surprised by the interest in the advertising option. David King, a product manager at YouTube, said in an interview that 90 percent of the copyright claims made using the identification tool remain on the site and are converted to advertising inventory. The other 10 percent are either removed from the site or tracked by the content owner.
“A year ago, I don’t think I would have dared guess that” so many videos would be converted, King said. “They want to leave it up and make money on it.”
YouTube is trying to sell other media companies on the model, but the conglomerates are apparently taking a wait-and-see approach. Time Warner and the News Corporation acknowledge testing the platform, but there is no evidence they are putting ads on user content. Companies like NBC Universal and the Walt Disney Company prefer to steer users toward their own video sites.
Viacom appreciates the technology but is not softening its legal hard line. Last fall, Viacom said it was pleased that YouTube appeared to be “stepping up to its responsibility and ending the practice of profiting from copyright infringement,” but it emphasized that the $1 billion lawsuit addressed past infringement of content. The lawsuit is in the discovery phase, with another hearing set for September. A Viacom spokesman said Friday that the company had not taken a position on Video ID.
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The data is based on the responses from 1,100 digital video users aged 12 and older
July 24, 2008
-By Katy Bachman
A vast majority of consumers find advertising a reasonable tradeoff for free online video content. According to data from Motion, Ipsos MediaCT’s ongoing digital video tracking study, three out of four digital video consumers are amenable to advertising in exchange for long-form video such as TV shows and movies.
The data, collected in February, is based on the responses from 1,100 digital video users aged 12 and older.
Advertising becomes less acceptable to consumers as the video content becomes shorter. Around two-thirds of respondents say the inclusion of advertising would be reasonable with free music videos, short news items or sports clips. Just slightly over half of the respondents (52 percent) said that advertising would be unacceptable accompanying amateur video content or homemade video.
“As might be expected, digital video consumers generally find it more acceptable to have advertising included within longer, professionally produced video offerings such as full-length movies or TV shows. Fewer are ready to accept this ‘price of admission’ for shorter-form content or less-professional polished content,” said Adam Wright, director of Ipsos MediaCT.
The findings may have implications for free video sharing sites, such as YouTube, which has begun to diversify its amateur and homemade video with professional video.
“As advertising starts to appear within their offerings, it has the potential to alter attitudes, perceptions and usage of these sites,” said Wright.
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Posted by Mark Blei in : Uncategorized , FOR MORE GREAT MARKET WATCH CONTENT CLICK HERE
Innovative Targeting System Matches Brands to Viewers Based On Their Video Interests and Viewing Trends
Last update: 7:23 a.m. EDT July 14, 2008
LOS ANGELES, Jul 14, 2008 (BUSINESS WIRE) — Veoh Networks (
www.veoh.com), the world’s most comprehensive Internet Television service, today announced the launch of a new behavioral targeting system that allows marketers to connect with Veoh viewers based on their video viewing passions and interests. The new system, which is currently in beta, combines video consumption, searching, browsing and community activity data from Veoh’s more than 28 million viewers to deliver branded ads and content to viewers across multiple lifestyle and interest categories.
“With more than a billion video views every quarter, Veoh is in the unique position to observe viewer behaviors and patterns across various forms and sources of content at an unprecedented scale,” said Steve Mitgang, Chief Executive Officer, Veoh Networks, In. “By helping marketers connect with their target consumers – no matter what type or length of video they’re watching – Veoh is unlocking the tremendous opportunity in Internet video advertising.”
Veoh’s unique targeting capability provides marketers an effective way to reach audiences across the full breadth of video content available on the Web — from network TV shows to made-for-web series to popular independently-produced video. For example, if an advertiser wishes to target tech and gaming buffs in a video-rich environment, Veoh can deliver that audience both when they’re watching related videos and when they’re watching other types of programming on Veoh. Similarly, if a brand wishes to reach people who watch a particular show, Veoh’s new system can deliver that company’s ads or branded entertainment to fans of that show across all forms and lengths of content on Veoh.
“Audiences – in addition to content – are becoming increasingly important to our clients as they consider advertising in video-rich environments,” said Christine Peterson, VP and NY Media Director, Carat. “We’re very pleased to see that Veoh recognizes this and is providing brands with the behavioral targeting capabilities and insights needed to succeed in the online video space.”
Initially, Veoh’s new system targets ads and branded content to more than nine interest-based audience segments, and the company can build custom audience categories around an advertiser’s specific marketing objectives. Following the beta period, Veoh plans to enhance the system to identify additional audience segments and introduce performance improvements that will help provide even more customized offerings to advertisers. Tests of the new targeting system conducted on Veoh in advance of the beta launch yielded performance lifts of more than 2 times higher than standard ads on Veoh.
On average, Veoh viewers consume more than 100 minutes of video per month on Veoh and spend 44% of their time on Veoh during traditional primetime television viewing hours. The company streamed more than 52 million hours of video in June. For more information about Veoh or to inquire about advertising opportunities, visit:
http://www.veoh.com/advertise.htmlOnline video measurement firm Visible Measures struck a partnership with online ad research firm Dynamic Logic to measure the branding and behavioral impact of online video advertising, the companies announced today.
Dynamic Logic measures marketing effectiveness and Visible Measures provides detailed data on online video viewing. The partnership has the potential to offer more detailed insight into the growing online video market.
Advertising experts have said that specific and detailed measurement of online video will help grow the market.
Advertising in streaming video is the fastest-growing segment of the interactive ad market and should hit sales of $7.2 billion in 2012, according to Forrester Research. That’s up from $471 million in 2007.
Visible Measures also introduced Visible Campaign, a new tool that measures the viral reach and audience engagement of Internet video ad campaigns. Visible Measures will do this by tapping into a database that tracks video performance of 80 million unique videos on 150 video-sharing sites. The tool will measure how audiences engage with campaigns on those sites.
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Posted by Mark Blei in : Uncategorized , Google, Looking to Monetize Video Site, Is Letting Content Producers Sell Advertising on Their Branded Channels
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By Abbey Klaassen
Published: June 09, 2008
NEW YORK (AdAge.com) — Google has struggled to find the best way to monetize YouTube. The latest idea: Let content creators sell ads.
Professional content producers — those who come equipped with their own ad-sales teams — are now able to sell advertising on their YouTube channels. That includes the click-to-expand overlays that run across the bottoms of YouTube videos and display units on the page that hosts the video player. The revenue is split between the content creator and YouTube, just as it would be if YouTube sold the ads.
YouTube is by far the largest video site, with more than 4 billion videos viewed in March, according to ComScore, but it has not been able to translate that audience into significant dollars. Google CEO Eric Schmidt has said better monetizing of YouTube is priority No. 1 in 2008. Bear Stearns analyst Robert Peck pegs YouTube’s revenue at about $90 million this year; other estimates have it as high as $200 million. Even at the high end, that would be just a touch more than 1% of Google’s total revenue. (YouTube’s head of monetization, Shashi Seth, recently left the company to join a Silicon Valley start-up.)
For many professional content creators and producers, being able to control the inventory that surrounds their videos is an important factor when they consider where and how to distribute content online. Revision3, the online-video-production company behind shows such as “Diggnation” and “Techzilla,” is selling advertising on YouTube, starting with GoDaddy, a sponsor that’s regularly integrated into the content of its shows. Many Revision3 shows have integrated sponsors, and the company’s CEO, Jim Louderback, said the ability to pair companion YouTube advertising in and around the videos is appealing.
Targeting
For YouTube, such deals give the site’s sales force additional representation within ad agencies and a carrot to dangle when trying to get high-quality-content creators to distribute on the site.
“They’re really interested in packaging together all their distribution potential, including YouTube, and using that to surround their anchor and tell a story just like our sales force would sell on our platform,” said Shiva Rajaraman, product manager at YouTube. “So we’ve started to work with these partners that do have that capability, essentially enabling them to sell their own inventory on YouTube.”
YouTube targets advertising by channel or vertical, such as comedy or music, rather than around specific videos. Because of that, there should be less channel conflict, Mr. Rajaraman said.
“We tend to do the bundled-audience sell,” he said. “They tend to do more sponsorship sales.” He wouldn’t address specific deals.
It’s easy enough to envision where YouTube could go from here: Content creators could not only sell ads that would appear next to their content but also extend the reach of those ads to third-party-created videos on YouTube. One hypothetical: Revision3 sells ads to GoDaddy to run not only on YouTube pages showing “Diggnation” videos but also on other third-party, tech-focused videos. Under such a deal, revenue could be split three ways: among Revision3, YouTube and the producers of the third-party content where the ad ran.
Good partner
60Frames CEO Brent Weinstein, who produces online-video content that is syndicated across a variety of partners, including YouTube, said the Google property has been a “very collaborative” partner that has helped video producers discover nuances in the environment and see trends. He didn’t elaborate what kinds of distribution deals he’s struck with the site, other than to say it has been easy to work with. “With their market leverage, you’d expect them to have diva quality, but they don’t,” he said.
Mr. Rajaraman said YouTube will conduct a series of brand-effectiveness tests, and it’s not finished experimenting in the ad space.
“We’ll be trying new formats, new ways to engage users,” he said. “No one knows quite how to crack video advertising yet.” Get more great content at Adage.com
Posted by Mark Blei in : Uncategorized , IAB Introduces Online Video Ad Guidelines
The IAB’s new guidelines cover three basic forms of online video ad formats.
May 5, 2008
-By Mike Shields
The Interactive Advertising Bureau introduced a set of guidelines on Monday (May 5) aimed at bringing more standards to online video advertising–and ultimately to make the still burgeoning medium easier for advertisers to buy.
The new guidelines cover three basic forms of online video ad formats: linear ads–interruptive video spots which are typically of the pre-roll variety, non-linear ads–which include the increasingly popular ‘overlay’ ad units, and companion ads–banner-like ads that appear alongside video as it plays on the Web.
The guidelines are the product of work conducted by the IAB’s Digital Video Committee, which is composed of 145 leading media companies, including Google, Yahoo and Microsoft, among others. In announcing the guidelines, IAB officials did not shy away from placing significance on the industry cooperation achieved in creating the guidelines and the impact they will have.
“This is a historic day,” said IAB president and CEO Randall Rothenberg, likening the announcement to a similar set of landmark guidelines put in place for banner advertising in the late 1990s. David Doty, the IAB’s senior vp, thought leadership and marketing, predicted “seismic shifts” would occur in the online ad business as a result of their adoption.
The new guidelines, which are viewed by IAB members as suggestions rather than rules, cover everything from how long pre-roll spots should be (no longer than 30-seconds) to specific file sizes, color depths and bit rates for various placements. The guidelines also look to enforce standards of consumer control for video ads–as the IAB urges publishers and advertisers to make most video ads user-initiated with options to stop and start video play on-demand.
But it’s the potential for standardization of video creative formats that has many in the industry excited about the guidelines, based on comments made during a panel discussion held during Monday’s IAB Leadership Forum at The Roosevelt Hotel in New York. When different sites and ad networks require unique creative specifics for video, “that hits our production budgets several different times,” said Deva Bronson, digital media manager, KFC. That sort of dynamic makes it tough to recommend running an online video campaign on a wide range of sites, she added.
Adam Shlachter, senior partner, group director, MEC Interaction, concurred, adding that agencies often need to weigh the tradeoffs between the expected impact of adding more video sites to a buy with the associated trafficking and production labor. Sometimes, those factors make it harder to justify online video to clients. “It’s really difficult,” he said. “Especially because it’s so nascent.”
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By Mark Blei
While looking at my Blogroll today I noticed that Giles Rhys Jones of Ogilvy London had been over taking a peak. Giles has a really excellent blog himself called Interactive Marketing Trends that I highly recommend. As bloggers are wont to do, I scanned over some of his content and found two great clips, one of them a funny little clip about WPP which I would post but won’t for fear my boss will steal my shoes when I’m wondering off for coffee, and then I caught this great video that was done by a group called Improv Everywhere.
Which Giles said and I agree was a great example of what he calls “real advertising” and compared it to the Sony Bravia Ad recently . It’s interactive clips like this that also bring the audience into the making of it, and by showing the crowd reaction from the perspective of the makers of the film, make it even more engaging to the viewer as they feel like they are part of the process of the creation of the art and less a passive viewer.
He also pointed out that 2008 could be the year that this new field of reality advertisement takes hold, which Giles postulates and I agree is a great way to spread both WOM and Viral advertising and shows how people can use sites like YouTube as a vehicle for their advertisement and both entertain and keep viewers engaged and looking for more.
Well done Giles! My curiosity however is peaked, and I must ask what Nick at Dartington meant when he commented on the WPP clip’s relevancy being due to the fact that he actually had an exotic dancer on stage recently.
Tell Nick to call me about any openings he might have in whatever department requires exotic dancers. I’m obviously in the wrong end of this industry .
This posting is a personal opinion article by Mark Blei who is in Business Development for Dynamic Logic Inc and the author of this blog. None of the content of this article is meant to be an opinion of Dynamic Logic, It’s parent company Millward Brown or anybody but the writer.
Posted by Mark Blei in : Uncategorized , 
The stories draw viewers,
the bards make a pittance
As Hollywood writers strike over payment for online distribution, a new report details just how much money TV networks have made selling online video ads, reports The Financial Times.
According to media buying firm Starcom, the four major US networks stand to rake in $120 million in revenue selling ads in streaming video this year.
The agency report says advertisers are attracted to the increasing audience for hit shows online. The web also allows them to better target their ads; research shows higher ad recall among viewers when compared to traditional TV.
Studios have been reluctant to share how much they’re bringing in from streaming video advertising because of contract negotiations between themselves and the writers, which currently receive no compensation from having their work re-purposed for online, mobile or any other new distribution platform.
Starcom estimates the overall video ad market will reach $1.3 billion this year, more than double what it was in ‘06. Networks, with their recognizable brands and “safe” content, are positioned to receive the lion’s share of that spending.
