Because the web is being rebuilt around people, in the very near future, maybe 18-24 months, almost every website you visit will be personalized to you. Every website will feature information about the people you care about. What they read, what they bought, where they went, what they think. In this environment, where all content is competing with people’s friends, advertising based on disruption will lose. No brand, and no advertising campaign, is more important and interesting to people than their friends. Display advertising as we know it today will die. Banner ads will die. Because TV is also going to dramatically change in the next couple of years, standalone 30 second TV spots will die.
The future will be built around always-on strategies with many, lightweight components.
IHS forecasts online viewings will more than double to 3.4 billion this year, up from 1.4 billion in 2011. The number of viewings from DVD and Blu-ray will fall from 2.6 billion to 2.4 billion. According to IHS, while digital purchases only accounted for 1.3 percent of all movie consumption in 2011, Netflix, Hulu, and Amazon Prime accounted for a combined 94 percent.
Since Hulu and Amazon Prime are much smaller, Netflix owns most of that market. If Netflix can hold on to market share — with a streaming-video library filled with little known or dated titles — what would that say about the strength of the service?
IHS’ report is unlikely to be welcomed news in Hollywood.
Twenty years after bursting from the grungy street markets of Lagos, the $500 million Nigerian movie business churns out more than a thousand titles a year on average, and trails only Hollywood and Bollywood in terms of revenues. The films are hastily shot and then burned onto video CDs, a cheap alternative to DVDs. They are seldom seen in the developed world, but all over Africa consumers snap up the latest releases from video peddlers for a dollar or two. And so while Afolayan’s name is unknown outside Africa, at home, the actor-director is one of the most famous faces in the exploding entertainment scene known — inevitably — as “Nollywood.”
"Lous C.K.’s independent, online, unencumbered and DRM-free release of his video recording of Louis C.K. live at the Beacon Theater sold more than 200,000 copies at $5 a piece.
That netted the stand-up comedian, actor, and television and film writer more than $1 million in revenue and proved bypassing traditional distribution outlets (e.g. television, worldwide DVD distributors, and even web-based, but digitally restricted virtual merchandisers like iTunes and Amazon) was a profitable gamble. It also gave fans of Louis C.K. around the world an elegant, surprisingly hassle-less way to watch and own a piece of content from an object of their enjoyment and opened up the eyes of at least a few individuals in the traditional and new media entertainment industries to an alternative way of doing business.
Among those few individuals is Aziz Ansari. The comedian, actor, Shutterbugger, Human Gianter, and Parks and Recreationer just released his new, hour-long, stand-up special Dangerously Delicious online, on his own website, as a $5, DRM-free, streaming video and/or digital download.”
TED2023 is evidence of the blurring line between creative content and marketing. With its highly produced online promo, “Prometheus” has transcended the two-hour movie format to become an immersive and pervasive entertainment experience. Since the dawn of the internet, movie marketers have been attempting to leverage the internet to build excitement around releases and, ultimately, “go viral.” The majority of these efforts have failed because they have been created in isolation from the core creative team, by a siloed agency with no access to talent or authority to add to the story. In many instances, additional content that is not planned in concert with the core creative team ends up explicitly contradictory to the movie — a major frustration for fans and stakeholders alike. TED2023 shatters that paradigm. The spot was masterminded by Ridley Scott and Damon Lindelof, and directed by Scott’s son Luke.
“We’re moving, as Johnson and colleagues put it, “from a mixed phase of humans and machines, in which humans have time to assess information and act, to an ultrafast all-machine phase in which machines dictate price changes.” We’re crossing a boundary into a trading twilight zone, and doing so without much thought or awareness of the potential dangers.”—The Reign of Robots May Be Closer Than You Think: Mark Buchanan - Bloomberg (via smarterplanet)
'Usually when people talk about “social TV” they’re referring primarily to the way that viewers use services like Twitter and Facebook to discuss television shows, which is happening increasingly on “second screen” devices like smartphones and tablets. It’s a major trend. Studies have even shown that shows with louder social buzz tend to have higher ratings than without it.
In the case of The Stream, the “social” aspect of the program is more thoroughly baked in and is prominent throughout the entire production of the show. Garda and Connors both believe that this new breed of “open source” programming isn’t going anywhere, but they also concede that such a format isn’t necessarily always desirable.
There will always be value in a more traditional format, in which the focus is on experts and trained journalists. The crowd is always free to chime in, but it doesn’t always make sense to let their voices be so loud and central to every step of the production process. Still, it’s hard to imagine that this type of bottom-up, super-participatory format won’t have an impact on the way TV shows get made, including beyond the news genre.’
is this a Trojan horse move or a death sentence ?
“In what would ratchet up its competition with HBO, the talks could lead to Netflix becoming available as another on-demand option for cable subscribers through their set-top boxes, according to three people familiar with the talks. If a partnership came to fruition, a cable operator might offer Netflix as an additional option added onto a subscriber’s cable bill, according to a fourth person.”
' Is this the first example of a brand using Pinterest in this way? Airline BMI has launched a Lottery style competition on Pinterest that challenges people to repin up to 6 of its 45 images of various BMI destinations.
The winning numbers are then selected from repinned images and free flights go to the winner. ‘
With almost 103.6MM people expected online in India this year, and 80MM users expected to become 98.5MM by 2015 in Brazil, both countries represent a significant growth opportunity (and audience) for PepsiCo.