TV is changing, but is the industry ready?

How TV will change the game for digital marketers

TV is going through the biggest radical rethink in decades as it becomes connected to the Internet.

TV still commands 50 percent of the half-a-trillion dollar global media budget because it still engages consumers unlike any other media.

But over the last few years, the rise of smart mobile devices combined with the rapid growth of social media has changed the way we interact with television. When something piques our interests we want to share and dig deeper.

It is estimated that 25 percent of consumers go online after seeing a TV ad. That’s a huge spike right there. Not to mention that half of all TV watchers have a second electronic device in their hands, such as a smart phone or tablet, while on the couch. But whether you are checking your email or talking on Facebook, the habit is now truly synced for TV watchers. So much so, the biggest topic of discussion on social media by far is TV content. We just love it and we can’t get enough, because with every wave of consumer technology — from video recorders to X-Box and Hulu — technology drives TV viewing up and up, and with it the potential for advertising dollars and media measurement.

The next organic wave of “dual screening” — watching linear content on the main TV screen — while interacting on a second screen in your hand, is going to change everything we know about media.

In addition, the ability to place-shift content and carry TV with you in your pocket is going to grow exponentially, especially as the promise of 4G becomes a reality — but the forecast of $254 million by 2015 isn’t something the TV producers are too worried about. The big shift is in the delivery of video — not through traditional broadcast methods– but increasingly via the internet infrastructure.

Already 30 percent of U.S. homes find their TV sets are connected to the internet, whether directly or via an over-the-top service like cable or BluRay live. Best Buy saw 30 percent of all new TVs sold last year were “connected” and this number is continuing to grow.

The distinction between TV and online is quickly becoming blurred — and this is clearly shown in the impending explosion of online video. But sitting in front of your laptop isn’t the future for online video, it’s going to be video distributed over the internet to the very best screen in your home, your television. So what does this mean for the digital marketer?

But for all the talk of smart TVs and the rumor mills around a 50″ Apple iTV, consumers don’t replace their TV sets the way they do their mobiles. We typically replace our mobile every 12 to 18 months compared to every 7 to 10 years for TV sets, though that figure is now beginning to drop. This means for TV to shift we need to think of things connecting to the TV, as opposed to an actual smart TV in the near future. And that, my friends, is the race between OTT boxes from cable companies to Roku, Apple TV, etc. and wireless companion devices of the smart phone and tablet era.

When you look into what tablet and smart phone users are doing when watching TV, we discover that about 19 percent are searching for content related to TV advertising, a huge percentage of which are looking for coupons and discounts. This means that if we can simplify the process of finding related information or even sharing with friends whilst in front of the TV using a companion device, we can find a hybrid lean-back experience with lean-forward engagement.

Whether it is snapping a QR code on the screen, or letting high-frequency audio be picked up by a listening app on your smart phone or tablet, you can trigger a related response on the second screen. This doesn’t just have to act as a single redirect mimicking a click-thru, oh no. Multiple audio signals can be picked up within TV content or ad content to create multiple trigger points such as to collect characters by swiping your phone at the TV as shown by Wieden and Kennedy in its Honda Jazz TV ad, whereby the more interactive characters collected on the phone, the more hidden features one could discover.

But that is only TV ads. What about content itself? Adding meta data to all TV and film content means that potentially the trigger points of Daniel Craig sporting the latest Omega Seamaster in a Bond film becomes a trigger for the companion device to show an ad. Ever wondered what shoes Sarah Jessica Parker was wearing? Well now you can know without even doing a search.

Rolling a phone in front of a TV that triggers a response is just the next iteration of rich-media. It combines picture-in-picture across devices, whilst allowing a mass-reached broadcast medium to be overlaid with highly targeted personal ads that are user-initiated. It’s the 21 century expandable ad! It’s an in-stream plus a companion ad. It is HTML5 at its finest, set within an organically tactile device your toddler or grandmother will just intuitively “get.”

No more explaining to my mother what I actually do. No more convincing your CEO about online banners working, and them never actually seeing your work. Finally we are going to converge TV and online, and out-of-home content with interactive advertising, search and social media sharing within the most personal of devices. Not only that, but the chance for discount coupons and offers (or even payments) will happen right on a phone in your hand. Before you can even type “What is that hand bag she has?” your phone tells you and lets you look at it in 360 degrees, review it, buy it and show off to all your friends on Facebook that you are awaiting delivery of that very beautiful designer bag, all before the ad break even comes on the TV. Bingo! Winner, winner, chicken dinner (which, incidentally, you just ordered for home delivery via your mobile after seeing the latest Kentucky Fried Chicken ad.)

And the best part? Not only is this highly targeted advertising, being able to deliver individual ads to every single person in any given living room, or theatre or high-street, It offers measurability, accountability, consumer engagement, stunning creativity, and all with consumer-initiated opt-in. Did you hear me privacy advocates? I said “consumer opt-in!”

The bottom line is TV is changing. The notion of online video is permeating all media channels, and modes of measurement are going to be a hybrid from evaluating the value of an emotional connection through exposure as well as a tangible engagement through interaction. TV is just a large high-quality monitor that displays video content, irrespective of how it is transmitted to it. But everyone knows this will be increasingly via internet. It isn’t going to die. It’s just going to become a lot more dynamic, targeted, and measurable — complemented with “huge” production budgets. And that my friends, is the future of digital.

21% of americans connect their TV to the Internet

21% of consumers in the US connect their TVs to the internet, up from 16% a year ago, according to a study released this week from Frank N. Magid Associates. Looking ahead, the research firm projects that number to rise as it finds that 30% of consumers who haven’t already connected their TVs to the web are interested in doing so. Game consoles are the most popular connected TV devices, followed by smart TVs, Blu-ray players, and OTT video receivers from companies like Roku, Apple, and Google.

Apple wants to own every screen in your home

Apple wants every screen in your home to be an Apple screen. The company will be taking a giant leap toward accomplishing its goal at this year’s WWDC.

In just a decade, Apple has become a dominant force in computers, tablets, and mobile. It has yet to make major inroads into the biggest screen of them all: the television.

Sure, there’s Apple TV, but it has been a “hobby” for the company. Last year, 2.8 million units of the device were sold, and 2.7 million units have been sold so far this year. Though that’s impressive, it’s a far cry from the company’s iPhone, iPad, Mac, and iPod sales.

“It’s not a fifth leg of the stool,” CEO Tim Cook said recently at the D Conference. “It’s not the same size as the phone or Mac or tablet business.”

That’s all about to change, though. The Apple TV App Store is on its way, opening up the floodgates for developers to create killer apps for people’s living rooms. The new TV app store will be part of iOS 6, I’m told, which already powers the operating systems of the iPhone, the iPad, and the iPod Touch.

With a TV app store, the technology titan is laying the groundwork for the Apple television set (the iTV, iPanel, or whatever it will be called).

Releasing the Apple TV SDK is just the first step in Apple’s long-term plan to control every screen in your home. The big vision is to make all of the screens in your home interoperable via AirPlay and iOS.

Once that happens, it’ll be impossible to buy anything but Apple devices, because they will be the only products that work with the rest of screens in your home. Why buy a TV that can’t pull up your favorite apps, shows, and games instantly?

Original Programming, The New Internet Video Land Grab

This week, Hulu announced a slate of 10 exclusive shows coming to its platform this summer—one of the most aggressive moves yet in a land grab that is taking place among the pioneers of Internet video. Netflix has now green-lighted five premium series, and earlier this month, Amazon unveiled Amazon Studios, its first foray into original video. At YouTube, Google is plowing $100 million into launching 100 channels, with the goal of creating more content than there are hours in the day to watch.

In the hypercompetitive community of TV creation, where fortunes are made and programs are killed without mercy, online is where the action is. “The phrase that I keep hearing a lot is that it’s the Wild West,” says J.D. Walsh, the showrunner behind the original Hulu series, Battleground. “And I think that it is the Wild West. What that connotes to me is that nobody really knows what the rules are, what’s going to be stable, or who is going to [emerge as] the leaders. But even within the Wild West, you did have some major cities—and that’s what you’re seeing with these platforms.”

Hulu, Netflix, Amazon, and YouTube are all taking a unique approach to original programming on the Web. Their differing bets—on such questions as quantity, polish, advertising versus subscriptions, nudity, and more—provide a hint of what the future of “television” will resemble.

Hulu, which is jointly owned by the legacy television networks, is coming to resemble a broad-interest network with catholic tastes. Of the 10 series announced this week, three are wholly original to Hulu, and they run the gamut: there’s Spoilers, a kind of movie club hosted by Kevin Smith (Clerks); Up to Speed, a travelogue by Richard Linklater (Dazed and Confused); and We Got Next, a “bro-mantic comedy” about a pickup basketball clique. The other seven titles, for which Hulu bought exclusive streaming rights, involve everything from teen pregnancy to the British clergy to a faux-gritty mockumentary set on an elementary-school playground.

Andy Forssell, the executive in charge of content—and a $500 million annual budget—says he has no idea how many titles Hulu will come to produce in the coming years. “We’re quality-gated,” he said in a recent interview. “There’s no quota that I want to go hit. We don’t have a set number of hours to fill, like a lot of traditional networks do—that’s actually an advantage I want to jealously guard.”

“A year ago, it was difficult to have people audition for our show because they just thought, ‘Oh, it’s just going to be on the Internet.’ Now we don’t have that problem anymore.”

Jason Kilar, the chief executive officer of U.S. online video content provider Hulu. (Kyodo / Landov)

One thing Hulu’s original titles will never depict, though, is nudity. That’s in part because a significant portion of the company’s revenue comes from advertising.

That provides an easy point of comparison with Netflix, which has sought to reposition itself as the HBO of the Internet, home to premium dramas and comedies that viewers are used to finding on pay-tier cable channels. That includes the promise of gore—horror auteur Eli Roth is developing a werewolf series titled Hemlock Grove—and, when appropriate, boobs. In April, at an event in Las Vegas that offered a first look at Netflix’s original programs, much was made of the shower scenes to come in Orange Is the New Black, a comedy set in a women’s prison.

The first Netflix series, Lilyhammer, premiered in the United States in February, and four more will come in 2013, including the $100 million drama House of Cards, with a pilot directed by David Fincher (The Social Network) and Kevin Spacey in the lead role. While Hulu plans to release episodes of its programs week by week, as the broadcast and cable networks do, Netflix will make whole seasons available to stream at once, a competitive advantage in courting the most artistically demanding writers and directors.

Amazon is far behind Hulu and Netflix’s leads, having only just unveiled its Amazon Studios division in early May. But its model is intriguingly disruptive, and of a piece with the company’s dotcom and retail roots. While Hulu and Netflix are hobnobbing with Morgan Spurlock and Jenji Kohan, Amazon is crowd-sourcing its production process, soliciting pilot scripts from the general public.

After a 45-day option period, Amazon will offer chosen artists $10,000; if the series makes it to the Amazon Instant Video service, creators get $55,000 and up to 5 percent of the proceeds from toy and T-shirt sales. And for now, Amazon is taking the opposite of Hulu’s kitchen-sink approach to genre, asking for pitches specifically in comedy and children’s programming.

Then there’s YouTube, with the deep pockets of Google and a deeper commitment to the messy, anything-goes world of user-generated Web video. Its 100 subsidized channels will feature sports talk, family fare, self-help, and virtually everything else users expect of the YouTube jungle. These episodes will be Web-sized—a couple of minutes each, instead of the familiar 22-minute blocks that will be found on Amazon—and creators will get a cut of Google’s advertising.

Why are these online video giants all rushing into original content? A number of factors play a role. With more homes gaining access to broadband Internet—and higher quality feeds—the audience for streaming is reaching a critical mass. Viewers have more choices about where to watch video, too—Friday Night Lights is available on Amazon Instant, Netflix, Hulu, Apple’s iTunes, and other services. As these libraries get more similar, the streaming companies have only two options for differentiating themselves: either pay through the nose for exclusive deals, or put that money toward great original programming.

The talent is ready. “A year ago, it was difficult to have people audition for our show because they just thought, ‘Oh, it’s just going to be on the Internet,’” says Battleground’s Walsh. “Now we don’t have that problem anymore.”

Online Video Viewership Continues Rapid Climb

According to data from April’s comScore’s Video Metrix report:
181 million U.S. internet users watched nearly 37 billion online videos.
The top five digital video properties on the web were Google/YouTube (157.7 million unique viewers); Yahoo Sites (53.6 million unique viewers); VEVO (49.5 million); Facebook.com (44.3 million); and Microsoft Sites (42.8 million).

Of the 37 billion video views, Google/YouTube was responsible for 17 billion, while Hulu and Yahoo accounted for 901 million and 742 million, respectively.

The average viewer watched 21.8 hours of online video content, with Google/YouTube (7.2 hours) and Hulu (3.8 hours) earning the highest average engagement among the top 10 properties.

U.S. internet users watched 9.5 billion video ads in April, making it another record-breaking month for video ad views.

Hulu led the way with 1.6 billion video ads delivered, followed by Google/YouTube (1.3 billion), BrightRoll Video Network (943 million), Adap.tv (881 million), and TubeMogul Video Ad Platform (831 million).

Total time spent watching video ads amounted to 3.9 billion minutes, with Hulu once again leading the way as it delivered 670 million minutes worth of video ads.

Overall, 84.5% of the U.S. internet audience viewed online video.

Three Reasons why Video on TV is still better than TV online

Google, Microsoft and AOL are hoping that their web video offerings and NewFront presentations will help them extract a healthy slice of the TV industry’s upfront money this year.

That all-too-familiar annual rite of spring is upon us. The trades are full of pre-negotiation rhetoric. Industry conferences are dotted with panels of shadow-boxing buyers and sellers. Every day it seems we get reports from industry equity analysts telling us which networks will see pricing growth and which holding companies are best situated to hold the line.

This year, however, we have a new dynamic. A group of would-be interlopers are trying to nudge their way into the TV advertising futures market, where advertisers and their agencies make billions of dollars in commitments to lock up the best inventory and, they hope, best pricing.

No, it’s not the cable networks. They’ve been trying to crash the party for years, and some have even gotten their own seats at the table. These crashers are the web folks: Google, Microsoft, Hulu, AOL and others hoping to reframe the upfront conversation from “just about TV” to “all about video.”

They have some strong arguments. Web video is growing, with hundreds of millions of streams a month in the U.S. Much of the higher-quality web video now carries interruptive video ads, not unlike the ads we get on TV. Web video delivers targeting and measurement, just like the web (it is the web) and; finally, it gives advertisers and agencies the cross-platform product showing up in everyone’s briefs this year as we all prepare for a multiscreen, multiplatform digital-media future.

The web guys scored a lot of good points with their presentations. They got some great visibility. However, they aren’t going to get cut into that action at the “adult” table that they so cherish, at least not this year. Here is why:

There’s not enough reach yet.
The upfront is a futures market where people buy things they need that are precious and scarce. For mass-awareness advertisers, massive reach accumulated quickly is scarce. That is why TV media is so in demand. That is why the biggest and best shows are bought in the upfront. Web video just doesn’t have that kind of scale yet. As Nielsen told us just last week in its annual Three Screen Report, 98% of video in the U.S. is viewed on TV. Only 1% is viewed on the web. Web video is not an alternative to TV when it takes a month to deliver as much national reach as two TV networks deliver in one night.

The best stuff will be bundled.
Advertisers do want web video, but the best stuff — the “premium” video associated with existing TV programming — is already being bundled and sold by the TV networks in packages. It is largely being sold with TV, not as a stand-alone web product.

Buying streamers means buying heavy TV viewers.
If you dig into the recent Nielsen numbers, you realize that the one quintile of U.S. consumers who stream 95% of the web video also consume four hours of regular TV each day. Advertisers buying TV are already buying the heavy web-video viewers. Thus, if you buy web video, you’re not buying incremental reach. You’re buying more frequency against heavy TV viewers.

Change is glacial.
U.S. viewers have been spending more time watching cable than broadcast programming for well over 10 years. However, according to Nielsen, last year was the first year that cable networks received more advertising than their broadcast-network brethren, despite now having twice the viewership of broadcast. In this industry, it takes a long time to earn your place at the table. The web folks won’t get entirely shut out. Some web video will be bought this year around the upfront. Digital planners created enough noise with the NewFronts that clients are going to demand they get something. After all, web video is this year’s bright shiny object. Plus, if nothing else, acquiring some will give the buyers something to use for leverage — even if it’s illusory — when the TV networks ask for the inevitable double-digit pricing increase. Yes, Google, Microsoft and AOL will get some of TV’s scraps. It’s progress, even if it’s not yet a seat at the table.

TV Everywhere Finally Becomes a Reality

NimbleTV.com has announced a game changing new subscription-based TV platform that enables customers to access their television from anywhere in the world, on any device.

Customers can access their subscription TV service using NimbleTV cloud-based software that lets them view their TV wherever they are – with nearly unlimited recording capability and social tools to help guide what to watch. The service is a global platform beginning with TV offerings from the U.S. and India, and will roll out to other countries.

“NimbleTV is based on the simplest idea: customers should be able to access the TV they pay for wherever they happen to be,” said CEO Subramanian. “Today, the groundbreaking technology behind our service makes ‘TV everywhere’ a reality – with more options, high-quality viewing on any device, watchable from anywhere. Our model is predicated on the belief that providers and content producers should be paid. NimbleTV is a solution that’s both consumer friendly and industry friendly.”

NimbleTV sets customers up with their own subscription agreements with TV providers that NimbleTV supports. Customers make payments directly to their providers with NimbleTV acting as a payment service. In addition to local coverage, NimbleTV includes all cable channels, depending on which package a customer selects. The service has more than 10,000 hours of digital recording. There is no box to buy or equipment to set up. NimbleTV has built-in social features that enable customers to easily follow and record what their friends like to watch on TV.

Digital Video Advertising Hits New Record

According to comScore’s latest online video numbers 181 million people watched over 36 billion online videos in March 2012. The leaderboard on this front was comprised of the usual suspects: Google/YouTube, Yahoo!, VEVO, Facebook and Viacom Digital ranked at the top in terms of unique viewers, while Google/YouTube and Hulu remained the kings of online video in terms of average minutes per viewer.

On the video ad front, Americans watched more than 8.37 billion online video ads, a new record, with Hulu delivering more than 1.75 billion video ad views on its own, which is also a new record. Google slotted in at second with nearly 1.27 billion video ads during March, followed by BrightRoll Video Network (953 million), Adap.tv (892 million) and Specific Media (775 million). Other interesting findings from the report include:

83.5% of the U.S. internet audience viewed online video.

The duration of the average online video was 6.4 minutes, while the average online video ad was 0.4 minutes.

Video ads represented 18.5% of all video ads viewed, and 1.5% of all minutes spent viewing online video content.

Hulu Grows to 40% of the Premium Online Video Market

Hulu kicked off the Digital Content NewFronts (DCNF) yesterday with its presentation in New York. Among the highlights:

Key insights:
Hulu has more than 360 content partners between Hulu and Hulu Plus, and offers current season programming from five of the six major U.S. broadcast networks.

As of March 2012, Hulu has approximately 40,000 hours of content.

In February 2012, Americans watched 2.5 billion videos on Hulu.

Hulu represents 20% of the overall online video marketplace, and 40% of the online premium video marketplace.

Has served over 1,000 brand advertisers in its history.

Hulu – The Little Site that Became a Big Network

Five years ago, some of the most powerful players in television banded together to introduce Hulu, a streaming service intended to revolutionize the TV industry.

This week, Hulu will look more like a traditional network than an Internet pioneer.

At a presentation on Thursday in New York, Hulu, created as a service for watching network television online, will pitch advertisers on original programming in an annual ritual known as upfronts that are typically reserved for cable channels and network broadcasters.

Hulu executives are expected to take the stage to sell advertisers on new series. The executives will also promote the service’s desirable demographic of young viewers who turn to Hulu for popular network sitcoms like “New Girl” and “Family Guy,” available only after they are broadcast on Fox.

As an online television destination, Hulu is something of a teenager now, sometimes tolerating feuding parents and succeeding perhaps in spite of them. Hulu is growing steadily, despite disagreements among its corporate owners, and the new restrictions those owners have placed on free streaming of network shows.

This week Hulu will announce that it has topped two million subscribers for its $8-a-month Hulu Plus service in the first quarter, half a million more than it had at the end of 2011. But it has not been an easy path to growth.

The executives who were the greatest champions of Hulu at its inception — Jeff Zucker, the former chief executive of NBCUniversal, and Peter Chernin, formerly the chief operating officer at News Corporation — have moved on. Their successors are less enamored with the service, which they view as a potential threat to traditional revenue streams. Hulu’s owners are the Walt Disney Company, the News Corporation’s Fox Broadcasting unit, Comcast’s NBCUniversal unit and Providence Equity Partners. In 2007, when Internet television viewing began to take off in earnest, Hulu’s corporate parents raced to create a legal TV-streaming service supported by advertising. But more recently, those corporate parents have struck multibillion-dollar streaming deals with cable and satellite operators to make shows available online to their subscribers with tablets or smartphones.

Even though its audience was growing — and continues to grow — Hulu’s corporate parents questioned whether giving their shows away online could put at risk the hundreds of millions they earn from traditional cable and satellite deals. Hulu has embraced its new reality, and has maintained growth while doing so. With roughly 38 million visitors a month, according to the measurement firm comScore, the service had revenue of $420 million in 2011, up 60 percent from $263 million in 2010.

Attesting to the shift toward subscriptions, the company expects revenue from Hulu Plus to account for more than half of its total in 2012.

“The bulk of our business is working with those big media companies, and they’re going to make choices based on how they see the whole ecosystem evolving,” said Andy Forssell, Hulu’s senior vice president of content.

But Hulu still has to figure out how to marry its own subscription service with the systems that are being set up by the cable and satellite operators.

A few years ago, Hulu had a motivational effect on the media industry. It is widely credited with accelerating a trend toward on-demand television that forced networks and studios to figure out what to stream online, and what not to stream.

Some shows, like “Community” on NBC and “Fringe” on Fox, have benefited markedly from online streaming. “If we’re really on our game, people will look back on it and will say, ‘Wow, I can’t believe TV was like that in 2007,’ ” Jason Kilar, Hulu’s chief executive, said at a recent advertising industry conference. He declined interview requests for this article.