CBS Interactive Cooks Up Food Programming on YouTube

CBS Interactive’s foodie site CHOW.com has unveiled its first-ever weekly video programming lineup, adding four new series, two of which will be available exclusively through CHOW’s YouTube channel.
The lineup of new shows, which join existing ones like Supertaster, CHOW Tips, and The Easiest Way, is as follows:

Sundays: MDRN KTCHN, in which hosted Scott Heimendinger of Modernist Cuisine discusses food and ingredients used in a modernist kitchen.

Mondays: Musical Video Recipes, one of the YouTube exclusives, the show offers instructional “CHOW-approved” recipes performed to original pop songs.

Tuesdays: My Food Thing, the second YouTube exclusive, this show follows a celebrity as they discuss their favorite a private “food thing,” such as a musician dishing on favorite places to eat on tour.

Fridays: CHOW Happy Hour, in which famed SF bartender Martin Cate teaches viewers new cocktail recipes.

YouTube Continues Focus on Original Programming

According to new numbers released by YouTube: The top 25 original channels average over a million views a week; 800 million viewers are watching 4 billion hours every month; the number of subscribers has doubled year-over-year; and channel partners are reaching the 100,000 subscriber milestone five times faster than they did two years ago (this presumably includes partner channels before the initiative officially launched last year).

The video company now plans to expand the program globally by launching 60 new channels from media companies in France, Germany, the UK, and yes also the US. These new channels, which add to the approximately 100 that are already available, span categories from local cuisine to sports, animation, comedy, and news.

Cable Cord Cutting outpaces new subscribers

According to a recent Ericsson ConsumerLab report, there are more people in the US (21% of US-based pay-TV subscribers) who have either reduced or canceled their pay-TV subscription packages than there are those who have increased their spending (12% of US-based respondents). Of those Americans who have reduced or canceled their TV packages, 56% cited “wanting to save money,” 16% pointed to “using free internet services,” and 12% named “no suitable package” as reasons why. The global report consisted of 14 in-home interviews (10 in Chicago and 4 in Sweden) and 12,000 online interviews (1,000 per country), across multiple regions, including the US, UK, China, Spain, Sweden, and Germany.

Color this as unsurprising, but Twitter users like to share photos and videos. A recent eMarketer report took a look at July 2012 data from website analysis company Diffbot, which analyzed over 750,000 links posted to Twitter across the globe and found that 36% were of images, 16% led to articles, and 9% directed users to videos. On the video front, in other unsurprising news, Diffbot data found that YouTube accounted for 60% of all video links on Twitter. As a note, eMarketer forecasts that US adult Twitter users will hit 31.8 million in 2013, a 14.9% increase from 27.7 million in 2012.

Social TV engagement shows steady growth

62% of consumers use social media while watching TV on a weekly basis an increase of 18% over last year, according to the results from the annual Ericsson ConsumerLab study.

Moreover, 25% of consumers use social media to actually talk about what they’re watching at the time. “Mobile devices are an important part of the TV experience, as 67% of consumers use smartphones, tablets, or laptops for TV and video viewing,” said Niklas Ronnblom, Senior Advisor at Ericsson ConsumerLab.

“Watching TV on the move is growing in popularity, and 50% of the time spent watching TV and video on the smartphone is done outside the home, where mobile broadband connections are facilitating the increase,” he added.

2012 London Olympics Social TV Metrics

Last night the 2012 Olympics came to an end with a spectacular closing ceremony. With the games complete and athletes heading home, let’s take a look at how the Olympics as a whole performed in social TV:

There was a total of 36 million social media comments made about all the Olympics telecasts across NBCU networks. That’s more than the Super Bowl, Grammys, Oscars, Golden Globes, and all 7 games of the World Series combined! (36.0M to 32.7M) 97% of these comments came from public Twitter accounts, 3% from public Facebook accounts. There was a lot of social TV buzz focused on the athletes, with Michael Phelps, Tom Daley, and Usain Bolt scoring top spots (and amassing over 1 million Twitter followers each!)

Here is an overview of the final social TV numbers from Bluefin labs:

Harley Davidson takes Branded Content for a Ride

The Harley-Davidson Ridebook is a branded content series created by NY-based marketing agency Campfire for the popular motorcycle company. Each edition features stories and content from filmmakers, writers, musicians, photographers, and other personalities that highlight experiences featuring Harleys in some way. For example, in the most recent edition, called “Beyond the Hive,” singer-songwriter Butch Walker curated a video called “The Prohibition Tour,” which captured a ride with friends to Napa Valley where Walker and his buddies sampled some wine. There’s also “Ghost Towns, ” in which videographer Scott Toepfer takes a road trip to an abandoned town in California.

Other features include “Bike Anatomy,” an interactive guide to a Harley-Davidson curated by UrbanDaddy and a music playlist curated by TheFader.com. Even if you’re not a biker, this is compelling content, that will make you wish you had a Harley.

The Future of Cable TV?

Even as cable/satellite TV carriers like Comcast and DirecTV squabble over dollars and cents with broadcast and cable networks like NBC and Viacom, the very structure of their decades-old business model is under attack from new Internet technologies and services, as well as new government regulations. At stake is the future of how people watch and pay for television and video – and who controls the experience.

With plot twists like last-minute negotiations ending in content blackouts, regulatory changes that could derail well-established business models, and brand new technologies delivering video content in brand new ways, this TV-delivery drama should be a blockbuster.

The question is, what surprises will the next episode bring? The search for possible spoilers brings up a wide range of theories from all over the industry, as various players, regulators and observers try to figure out what happens next.

Kevin Lockett, Digital Media Analyst from Lockett Media, says the result will be a fundamentally changed cable industry – one that will have to be far more transparent and flexible in order to keep its customers from defecting to new Internet-based options. If and when the general public figures out that it now has real alternatives, Locket says, “the cable companies are in trouble.”

Previously On Cable TV…
For two decades, cable TV, joined later by satellite providers, has been the dominant force in delivering video content to homes and businesses in the US. Lately that dominance has been challenged from within by cable TV’s own business practices and from without by Internet video providers like YouTube and streaming Internet TV delivered to special set-top boxes with weird names like Roku and Boxee, or Blu-Ray DVD players, or even “Smart” TVs themselves.

This new class of technology is hard to label, since there are so many variations on delivery devices, but over the top (OTT) platforms is one name that seems to be getting some traction. OTT is a broad term that describes not only the devices that receive and display Internet TV, but also the online services that deliver them. A tablet, then, is not an OTT device in itself, but it can receive OTT-delivered content, such as that from Hulu and iTunes.

OTT devices vary in form, but they share the function of bringing in video content over existing Internet connections through service providers like Hulu, Amazon Instant Video, and Netflix. Such services feature on-demand video programming at monthly rates that are typically much lower than cable subscription rates (for a more limited range of content, of course).

Who’s Gone Over The Top (OTT)?
How much attention is OTT getting? The Interpret LLC’s New Media Measure syndicated report sets the number of US consumers age 18-65 that own an Internet-enabled set top box (like a Roku player, Apple TV, Slingbox, Vudu box, etc.) at 13.6%, reported a company spokesperson.

Less than 14% may not sound like much, but OTT has been around for only three years. And Interpret’s numbers don’t include the millions of users watching alternate video sources like YouTube and Vimeo.

The other half of the squeeze on the cable TV industry comes from the ossified business practices of the industry itself. Cliffhanger battles for carriage rights that lead content creators to pull their programming from cable and satellite systems if they can’t get a deal they like is shooting the industry in the foot.

Frustrated with what appear to be more frequent content blackouts and ever-rising rates, consumers – and lawmakers – are applying pressure for less bundled programming and more à la carte-style programming. Content providers like Viacom and Disney rely on channel bundles to keep alive channels that consumers might not otherwise pay for.

Bundling Is The New Villain
The animosity over channel bundling is building. During the recent dispute with Viacom that led to a content blackout of Viacom channels for 26 million viewers, DirecTV laid it all out for the New York Times:

“Programmers like Viacom typically won’t allow anyone to buy their channels individually, but we hope to change that,” DirecTV told the Times. “We currently pay them hundreds of millions of dollars every year already, and if Viacom thinks their networks are worth a billion more, then you have to be able to select what’s most important in your own living room.”

DirecTV was willing to endure public blowback for dropping popular Viacom channels lilke Comedy Central and Nickelodeon because it was more afraid of bundling. In the past, customers had little choice but to pay for channels they didn’t watch to get the ones they were interested in.

But things are changing. Now customers can go to competing cable companies in the same town, or buy a satellite dish. Or leave the game completely to use OTT devices and services. Suddenly, the cable companies are pushing back at bundling demands from content producers.

Finding the Plot Motivation
As vice president of Accedo, a software vendor that builds apps and application interfaces for OTT devices, David Adams knows first hand about the changes in the cable TV industry.

“We’ve moved from just a few services in there with their toes in the water, to these services actually driving strategy,” Adams explains.

Ironically, though, the barriers to sweeping change within the existing cable TV industry are the same factors driving the change: business models and technology. Even as content takes new paths producer to consumer, Adams says, “when you have these 10-year, long-term carriage agreements in place, it’s hard for the [cable TV] industry to respond.”

Deeply ingrained ways of doing business show up even when cable providers or broadcasters try to adapt to the growing presence of OTT. A classic example is HBO Go, which offers on-demand programming over the Internet – but only to existing HBO customers. “They’re trying to adapt, but their business model isn’t changing,” Adams says. Instead, “they are looking to become more competitive with OTT.”

The real potential for OTT may come if it can combine the full-screen ad experience of traditional television with the targeted marketing promised by OTT technologies.

According to Adams, though, that combination is not yet mature enough to attract major advertiser interest and jump start adoption of OTT.

Is Cable Doomed?
“We’ll always be able to choose cable,” analyst Lockett predicts. “It’s in their best interests to appeal to their customer base and they eventually will.”

But even as non-technical people learn more about OTT, Lockett doesn’t see the complete abandonment of cable practices like channel bundling. Unbundling or better bundling won’t be the only thing keeping cable TV alive – instead, cable will have to find a new role. “AM radio is still around after all these years,” Lockett notes, albeit serving a more limited niche.

Adams, too, doesn’t predict the demise of cable. Customers are still dedicated to the big, full-screen watching experience, he believes, and cable remains one of the best ways to get that experience.

Instead, he sees the most revolutionary changes coming TV consumption from the use of tablets and other mobile devices in conjunction with TVs.

A Starring Role for the Second Screen
“The second-screen experience is something the content producers in Hollywood are playing around with now,” Adams explains. “The combination of tablets and TV will change the way we view television forever.”

Tablets and smartphones already provide a range of second-screen experiences – from following Twitter reactions to the Olympic opening ceremonies to show-specific apps like one launched last winter for the popular Fox reality show “American Idol” or the additional show content delivered in the form of a graphic novel for USA Network’s “Burn Notice.”

Meanwhile, companies like Shazam are trying to ease the need for viewers to hunt for apps and content related to a given show. The music-recognition app recognizes the soundtrack from a shows and downloads related content or apps chosen by the show’s producers.

Far from a challenge to cable TV, the second-screen could actually help save it. Cable TV providers could use the second screen to enhance viewing of primary video content and deliver even more targeted advertising – helping to offset income lost from the decline of bundling. That, in turn, would help cable TV service providers hold down subscription costs, and stem the bleeding of customers looking for less expensive alternatives.

Cable TV’s ratings may fall as OTT becomes more popular, but don’t cancel cable’s season just because the plot is getting a major rewrite.

Olympics Digital Coverage is a winner for NBC

With NBC placing a larger spotlight on the digital space for its coverage of the London Olympics, the company has released some data on how its digital properties are faring in the early stages of the two-week event. NBC says for the first two days of competition, NBCOlympics.com has averaged 87 million page views (+29% compared to the Beijing Olympics) and nearly 7 million live video streams every day (+370% versus Beijing). To be fair to the latter number, Beijing did not offer as much live video content as London. The NBC Olympics apps are also performing well. Olympics Live Extra and NBC Olympics apps have surpassed 4 million downloads.

1/3 of all Americans now own a Smartphone

The latest numbers from comScore’s MobiLens service, covering the US smartphone market over a three-month period ending in May 2012:

Nearly 100 million Americans own a smartphone.

Google’s Android owned 50.9% (up 0.8% from February 2012) of the US smartphone market. Apple’s iOS-operated iPhone came in second with 31.9% (+1.7%), followed by RIM at 11.4% (-2%), Microsoft at 4% (+0.1%), and Symbian at 1.1% (-0.4%).

In May, 51.1% of US mobile subscribers used a downloaded app; 49.8% used a mobile browser; and 36.7% accessed a social networking site or blog.

A look at Showtime’s social TV strategy

On Sunday night the final season of Weeds premiered, a centerpiece of premium cable that helped define Showtime’s footprint across TV. Season two of Episodes — the hilarious Matt LeBlanc plays “himself” — also took off to fans’ delight. Borgias, The Big C and Shameless have all added to the Showtime’s arsenal, already riding high with Dexter and Homeland.  We spoke to newly appointed Vice President of Digital Services, Brian Swarth about Showtime’s social TV strategy.

Sunday night’s premiere of Weeds (the final season) did well on social. According to Trendrr, last season’s premiere had 21,894 comments and this year it jumped to 44,731. “Social activity surrounding the show has more than doubled, demonstrating that its audience remains engaged and willing to incorporate social into the viewing experience as it enters its eighth season,” Trendrr CEO Mark Ghuneim told Lost Remote. “Closing the show with XTC’s Dear God did not hurt either,” he added.

According to the network’s release, Swarth “will be responsible for overseeing all mobile, digital creative and marketing, technology and production, iTV and digital content production groups within the Digital Media Group, as well as driving external digital partnerships.” His previous experience includes A&E, AMC, MTVN, Warner Bros., IAC and EPIX.

We interviewed Swarth about Showtime’s social TV iPad app, their Facebook fan reach, how their business model allows them to use social differently from ad-supported TV and how he’s keeping his eye on ACR technology. He even dished a bit about plans to launch sneak peaks of the new Dexter season across the social web.

Lost Remote: What’s your background, how did you get to Showtime?

Brian Swarth: For the past 14 years, media and entertainment has been my sweet spot.  I’ve held various roles at Warner Bros. Pictures in interactive marketing and MTV Networks in marketing, strategy and business operations. Prior to Showtime, I headed up client strategy for a digital agency based here in NY where I focused on the media and entertainment space.

LR: How does Showtime approach social TV and using social media to reach viewers?

Brian Swarth: At the core of social TV, is the notion of driving viewers to linear television so they can interact with a passionate community during or immediately following their favorite shows.  We enable this type of audience engagement in a number of ways.

Last year we developed and launched the SHO Social app for iPad (above), a companion app that lets users answer polls, make predictions about plot points and share their reactions with other fans, all while watching their favorite Showtime shows live.  We’re extremely proud of this app, which won a Webby Award this year for “Integrated Mobile Experience”.  Our team currently has a 2.0 version in the works that should be ready this fall.

While branded environments like the SHO Social app are important to us, there are also a number of 3rd party platforms out there.  If it’s the right fit for us, will look to partner.  So you’ll see our fans playing with and interacting with our content on a variety of social TV platforms in addition to our own.

There are also a lot of exciting developments happening in the connected TV space, especially with ACR. ACR is interesting because it really opens up the door in how our audience interacts with content and the broader community.  We plan to integrate new social features into our Interactive Television apps on connected TVs.

To date, much of the industry’s emphasis on social TV has been around driving viewers to linear premieres. And for a basic ad supported network, that’s critical.  But Showtime’s business model (premium subscription based TV), allows us to be more flexible in terms of how and when we use social TV to engage with our viewers.  For some of our shows, a large percentage of our viewership comes from non-linear platforms.  So we are always thinking about new models of engagement in time shifted viewing experiences using social TV.

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