When my partners over at AOL gave me the heads up that they would be disrupting the NewFront traditional format, they weren’t kidding. Tuesday night’s experience was nothing short of the mother of all block parties. Rather than an hour plus of seated ad professionals listening to talking heads drone on about what’s next for the company, they literally created a hands on ‘choose your own adventure’ experience spanning several blocks at the South Street Seaport.
If you were one of the few map-wielding individuals skilled enough weave your way through the massive crowd you would’ve had the opportunity to pilot a drone with TechCrunch, dive into VR with Engadget, bust a move with Complex and even toss a football with Victor Cruz and the NFL.
However, it wasn’t all fun and games. In between performances by Years & Years, Snoop, Wiz Khalifa and Demi Lovato, AOL touted their robust and growing platform interactions across social, which they claimed will bring consumers back to AOL. They also announced the launch of 20 new programs and an emphasis on advanced video formats for mobile in 2016 including VR, 360 video and interactive experiences.
Raymonde Brillantes-Green, VP/Director of Partnerships & Investments, DigitasLBi
YouTube’s Creators & Screaming Fans
THE YOUTUBE NEWFRONT
Thursday evening’s 2016 Brandcast felt more like an awards show (if touting subscriber/fan base power could be equated to awards) than a NewFront presentation of what’s to come in the next year. One message that came across loud and clear from the steady stream of creators that they brought to the Javitz Center stage (and their screaming millennial fan base) is that YouTube cannot be ignored anymore now that they reach more 18-49 year olds on mobile devices than any TV network.
NEW PROGRAMMING ANNOUNCEMENTS
Big Bird made us watch and him “Whip and Nae Nae” on stage after announcing the new Sesame Street channel on YouTube Kids. For those brands looking to reach lap babies, toddlers, and their co-viewing parental units, this programming brings a historically credible, brand-safe opportunity with quite a bit of earned emotional equity. Not to be outshined by the likes of Big Bird, the NBA (a longtime YouTube partner)brought out their big dog – the commissioner Adam Silver – and shared that the NBA is by no means just a US sport anymore, with over 60% of their digital video views being driven internationally. He also gave us a sneak peek into the technological growth that NBA has in store, with two virtual reality series.
On the coattails of the YouTube announcement roughly three years ago of Google Preferred, this year they unveiled their newest product, “Google Breakout Videos”, which will allow brands to align themselves with “of the moment” content that is on a positive trajectory. How Google is defining “hottest and fastest rising videos” is still yet to be seen; as well as how they (in real time) protect brands against from “low quality” or “not brand safe” videos. In some categories, like music for instance, this could be a fantastic opportunity to align with the next Justin Bieber before he gets too cool for school.
THE SHOCKER
The most shocking announcement of this year’s Brandcast was the move to include Google Preferred inventory in their programmatic offering through DBM. This move throws their ability to sell the Google Preferred inventory, which was previously billed as their most premium and coveted inventory. It will be interesting to see specifically what inventory (content line ups and percentages) will be available programmatically and how this will impact the Google Preferred Upfront negotiation window.
Raymonde Brillantes-Green, VP/Director of Partnerships & Investments, DigitasLBi
Hulu Crafts a Roadmap That Measures Up
THE HULU NEWFRONT
THE (GOOD) NEWS FOR BRANDS & AGENCIES
Hulu has made significant strides in the measurement and technology department. Peter Naylor, SVP of Ad Sales, pleased the MSG audience of ad men and women by revealing that Hulu would be partnering with Brightline to be the first streaming service to deliver interactive and dynamic ad units specifically built for the TV screen. What’s better is the additional measurement that will come with the ability to track consumer engagement by unit per household. Through a unique and new relationship with Nielsen, they will capture and report on OTT viewing across Roku, PS, Xbox and Apple TV – the first time Hulu will report on viewership beyond desktop and mobile. Lastly, they will also work with Millward Brown to track lifts adverting effectiveness; these new features are almost certainly guaranteed to provide quite a disruption in the linear TV marketplace over the next year especially as other streaming services adopt the same.
TV? DEAD.
If there is any truth to the headlines declaring that “TV is dead” then Hulu, a streaming service which distributes content for 5 out of the 6 largest US Broadcast networks, is most certainly resurrecting it. During last year’s Digital Content NewFronts, Hulu’s CEO Mike Hopkins announced that they were at 9 million subscribers and boasted a 50% YoY growth. This year, while that growth rate has slowed to only 30% YoY, their present 12 million subscriber base is nothing to scoff at as they now creep up on 15% of Netflix’s 80+ million audience.
Although their rate of growth slowed in 2015, the year saw noteworthy success in their original content category for the first time with 11.22.63, The Path, and The Mindy Project, which boasted more social buzz and streams than some Netflix Originals at times. It’s no surprise that both The Path and The Mindy Project have been renewed. But in a pivot from the drama/comedic scripted programming that Hulu has leaned heavily on in the past, this year they announced the launch of “Hulu Documentary Films” and an Election Special. The addition of these two heavier tone pieces of content takes a page from the book that networks like CNN and VICE have been using in the past few years. It may potentially be a play to accelerate their slowing growth by attracting a new set of older and/or more socially conscious viewers.
Raymonde Brillantes-Green, VP/Director of Partnerships & Investments
Economist Films and The Power of Content Take Center Stage
THE ECONOMIST NEWFRONT
THE TAKE AWAY
A sizzle reel communicates volumes about The Economist: it’s global, it’s courageous, it has access, and it has hope. Overwhelmingly, the arresting imagery, though at times jarring (a close-up of a hear as it beats inside a chest on an operating table for example), demonstrates a common thread of humanity.
THE EXPERIENCE
In a mid-century inspired meeting room in the Standard hotel, President of The Economist Group media businesses Paul Rossi addresses the crowd congenially. Images and statistics flicker behind him as he explains that The Economist was founded in 1843 as a weekly magazine, and speaks to the fiscally conservative and socially liberal. “We’ve got Millennials”, he says. “We’ve got old people, old people are really good,” he adds.
The candor is refreshing and both statements on the surface make sense. While perhaps a bit reductive, I’d imagine much of the older crowd resonates with the heyday of the print paper, while the Millennials lean heavily into the publication’s focus on social good and unabashed political outlook.
Paul makes a few references to VICE, and it begins to come into focus as a significant competitor (at least in The Economist’s mind) as they set their sites on a robust video offering with “Economist Films”, started just one year ago.
Though I’ll confess not to be steeped in all of VICE’s offerings – what I do know of what I see in my feed on a daily basis is that VICE doesn’t truly seem like a competitor at all, but rather a dark mirror. VICE is the doomsday crier to The Economist’s song of a better tomorrow.
Tom Standage, Deputy Editor/Digital Strategy, and David Alter, Director of Programs for Economist Films, introduces a slate: Global Compass, FutureWorks (jobs of tomorrow today), The Disruptors (Airbnb vs. The Ritz Carlton for example, a series supported by EY) and finally Passport (“a new kind of travel series aimed at travelers that like to be ahead of the curve”). The clip shows a mesmerizing performer flirting with the camera while she dances with abandon and joy.
Nicky Minter Green, President of Economist Films, announces additional content with scope for partners to get involved:
Winning Edge: Limits of human endeavor and tech in sports.
StartUp Jungle: What it means to be a twenty first century entrepreneur.
Masters Of: A step inside the creative worlds most famous institutions.
Extreme Cities: Find out what it feels like to be living on the edge.
Pride and Prejudice: Stories behind elements of the evolving LGBT community, like “the rainbow economy” and “glass closet”.
Margurite Howe reveals her leadership of the next iteration of Espresso - The Economist’s endeavor to deliver original video content five days a week. “Economist DNA in bite-sized form”, says the sizzle reel behind her - meant to “cultivate a daily habit so that people will come back to us everyday,” she adds. The revamped Espresso is slated for a full public launch in the Fall.
Paul Rossi appears once more to round things out, speaking directly to prospective brand partners: “The content is yours, you can use it any way you like. The next stage is we’d love to talk to you.”
Michael Todd Cohen, VP/Content Director, Digitas Studios
Time Warner Cable Media: Holding Fast Over Moving Forward
THE TIME WARNER CABLE MEDIA NEWFRONT
THE THEME: Impressions Matter
THE GOODS: A Time Warner Media branded “take out” box, Bluetooth selfie remote, Kernel branded pin art “impression box”
THE SURPRISE: Performance by Leon Bridges
THE TAKEAWAY
What becomes apparent as the revolving door of sales executives trod the stage, each introducing the next with the same stale, “Now let’s welcome to the stage”, is that Time Warner Cable Media is insisting on shouting about the status quo (present dominance of television) rather than planning into the future.
No doubt, cable will remain a valuable part of any media plan – however, if TWC Media doesn’t begin to think about ways of contextualizing its business outside of the realm of the old guard I think they’ll find they will have less and less impressive metrics to point to as the years go on.
THE EXPERIENCE
The lights of The Edison Ballroom marquee give off a dull shine against the curtains of rain sweeping down the street. “Impressions Matter” is emblazoned across the building in the way you’d expect to see posters for a Broadway show. My first thought is: Do they?
Admittedly, I’m coming at this from a content perspective and this presentation seems squarely aimed at media buyers – but still, are impressions worthy of the marquee? Anyone can buy impressions. You can’t buy brand loyalty. You can’t buy engagement time – the one metric I continue to think of as “golden” in that it’s purely voluntary.
Once inside, I’m given a rubber Time Warner wristband that I’m told contains my personal information provided in my RSVP. As I emerge onto the balcony level, I see kiosks littered about. When touched with the wrist band they automatically send information on Time Warner Cable Media initiatives or partnerships.
I touch one for Leon Bridges’ latest video, and one for a Kernel sizzle reel. I’m emailed seconds later with a link to download each piece of content or watch it in “Dropbox”. It’s utterly perplexing why the elaborate construction was warranted. If videos were played on the kiosk screens it’d have removed a significant barrier to entry.
The Art Deco trappings of the Edison hotel make for a dark scene, punctuated with buffet tables filled with Vegas-style fried entrees. Revolving metrics flash across a gargantuan screen on stage: Devices you can’t live without, number of attendees, favorite celebrities. Questions asked of the attendees when RSVP’ing, displayed in a perfunctory manner with sparse and simplistic logos.
SVP/CMO Fred Bucher takes to the stage and stiffly reads from the teleprompters positioned on the opposite end of the room:
“All of us in this room have two things in common, we are looking to connect with consumers and we are living in a great time of transition.”
After a few more minutes of introduction he invites Joan Gillman, EVP, and Sean Cunningham, President and CEO of the Video Advertising Bureau, to the stage to have a “candid” conversation around metrics. In particular, finding a unified metric to work from across all media. Sean displays a chart with YouTube celebrities and their channels and declares, “Subscribers are not viewers, are not ratings,” highlighting that only a fraction of these YouTube celebrity subscribers actually watch a video when prompted to do so from their subscription notification.
While I understand the desire to find a unified metric for the purposes of buying media and measuring effectiveness of campaigns – this thinking is reductive. If we’re to use television shows as a benchmark, couldn’t we as easily say that “viewers are not sharers”? There’s no option while watching television to immediately share something you’re enjoying. There’s no “like” button to measure sentiment. Simply put, to equate these two mediums on the same terms is misleading.
In the market TWC Media exists in, their ability to hyper target down to the household level, serve relevant ads, optimize and track results is promising. In turn, it reduces wasted ad inventory served to the incorrect audience. But this, I believe, only looks at part of the landscape – leaving behind the new frontiers of digital content on social platforms and their role in the ecosystem.
When the carousel of personnel stops revolving, landing back at Fred Butcher, he introduces singer Leon Bridges. His voice harkens back to the best days of soul – raspy but hopeful, pensive but accessible – honest. I look out over the audience. They’re checking their phones, tapping away on laptops, empty chairs numbering around forty or fifty at this point.
The context is striking. Leon Bridges is an exceptional talent. Put him in front of music enthusiasts, soulful youth, and the room would erupt with joy. Here, however it’s a quieter affair – a misguided attempt at reaching an audience far outside his own. The parallel to me in Time Warner Cable Media, is a room seeking to reinforce their own reality, rather than accept the new avenues opening up before them in an ever-evolving market.
Michael Todd Cohen, VP/Content Director, Digitas Studios
The Gamers are coming! The Gamers are coming!
THE MACHINIMA NEWFRONT
Closing out the last morning session of Week 1 at this years’ NewFronts was Machinima, the self-styled ‘Stewards of Gamer, Comic and Hero fans’. Hosted by Chad Gutstein, CEO, it was an event worth attending and, unlike many this week, raised some compelling topics.
VIRTUAL HAS BECOME REALITY
Access to the event was hotly contested given both the minimal available seats (65) coupled with the news that every attendee would leave the proud owner of a brand new Galaxy S6 and VR headset. It’s fair to say their tchotchke beat the swathe of power chargers and mini blue tooth speakers handed out by most other companies.
But beyond this show of benevolence, it also served to further confirm that this week has been about one topic: VR. It’s here, and clients need to move past the novelty and start planning for the exciting reality.
“3D was isolating. VR is about connecting people. It’s no coincidence that the world’s biggest social network bought the largest VR company,” said Craig Barry, Chief Content Officer, TURNER SPORTS.
DigitasLBi strongly believes a new medium has been born, a technology which is as important as the creation of the iPhone itself. VR has a new language, a new set of rules and, together, we need to decode and understand them.
POP CULTURE IS CHANGING
Fashion, music, films. These are the traditional pillars of how pop culture is judged. But there’s a new kid in town, one that now commands 13% of the dollars spent on entertainment in the US: gaming.
But gaming is often hard for brands to understand because it’s based on audience participation - creation not consumption.
“Marketers understand how valuable Gamers are, but don’t know how to begin,”Joost Van Dreunen, Founder of Superdata commented. “We can no longer ship and forget, now it’s about how we nurture the daily relationship.”
PASSIONS RUN DEEP
And as pop culture changes, the growth of Machinima has been as heroic as the content they nurture.
Views (4B by Jan’16), uniques (150M) and total creators (23k) have all doubled in a year and a half – and that’s important not only due to that now outdated term ‘reach’, but also as a metric of Passions. Machinima has clearly tapped into a content stream with a large and growing base, one that is mobile first (and borderline mobile only) and that attracts a less mainstream and harder to activate audience such as Reddit (+505 Index).
All of this bodes well for exciting collaborations between relevant brands and creators, and has triggered the launch of Mach-1, an agency within Machinima to help figure out the way to do this.
ESPORTS: FROM BASEMENT TO STADIUM
With mainstream broadcasters like Turner Sports paying attention, the event finished with a deep debate around eSports – the gathering of millions online or at events to cheer on their favorite teams or heroes. Unconvinced? Then look at the 500M active weekly users who play them globally. And that’s just figures from one publisher, Activision Blizzard. Craig Barry, Chief Content Officer, Turner Sports, made strong claims, saying, “eSports is a cultural tsunami, one that flipped the model. A digital first platform vs. an extension of an older one.” And Jesse Wolford, Bud Light, declared, “We view this fan base as just as legitimate as that of the NFL or NBA,” said Jesse Wolford, BUD LITE.
THE BOTTOM LINE
From gaming to the emergence of eSports, a key point coming out of the event was best framed by Mike Sepso from Activision Blizzard and Craig Barry from Turner Sports:
“Millennials don’t need one hero. It’s not Seinfield any more…they have hundreds of YouTube heroes”.
And the role for brands, like any good content, is to provide value.
“You need to put the sponsors in a place that they’re propelling the community, not in the way of it”.
This is very much aligned with our agency’s point of view. As Scott Donaton, DigitasLBi’s Chief Content Officer said during our ninth annual NewFront “Skip Ads”, “Don’t get in the way of what consumers want, be what they want.”
Will Phipps is VP, GD, Digitas Studios
Condé Nast NewFront: Innovating Through Authenticity
THE CONDÉ NAST NEWFRONT
REIMAGINING THE ENTERTAINMENT BUSINESS
Condé Nast continues to be a powerhouse for content production, developing 4,000 pieces of video yearly across 21 premium and iconic brands touting Emmy and Academy Award nominations. They are embracing a truly screen agnostic approach, thinking beyond print and digital mediums to produce content for all screens. CNE is turning the traditional linear-to-digital content distribution platform model upside down, producing content in digital first that extends into linear channels through large distribution partnerships with Comcast, Amazon, etc. Within the year they are rolling out five TV series and two full length films, the first being debuted at the Tribeca Film Festival (titled First Monday in May). CNE continues to offer an authentic voice in the space coupled with mass reach especially among an emerging early adopter millennial audience.
ELEVATING HOW USERS CONSUME ENTERTAINMENT
CNE is ahead of the curve, investing in cutting edge technology designed to deliver captivating video experiences, such as virtual reality & 360 video. New ad formats allow for an opportunity to deliver a more immersive experience in storytelling. They’re partnering with Samsung and Jaunt to debut a VR video series, called Invisible, where they’re investing in and building new technology to reinvent the experience as they shoot and produce this content. While VR headset adoption continues to gain momentum, it’s unlikely that viewership will be substantial for this series, but learnings from this initiative will propel future experiences. Furthermore, CNE will continue to be a first mover in the VR space which will position themselves for future success once adoption is more widespread. It’s also worth noting that CNE has recently rolled out an app redesign to accommodate 360 video viewing experiences.
CREATE THUMB STOPPING MOMENTS
A big announcement at CNE’s NewFront was the launch of their Next Gen Studio focused on social content production. They strive to create “moments that matter” for their viewers, delivering content that is optimized for the platform on which it is consumed, i.e. different content for Snapchat, YouTube, Facebook, etc. CNE is ingesting data and insights to inform best practices in content production and distribution to apply to future campaigns. They will then utilize those learnings to enhance their ability to tell better stories in emerging platforms, across all screens.
Beth Weeks is Associate Media Director, DigitasLBi
BuzzFeed: Content Breeds Connection
THE BUZZFEED NEWFRONT
THE CHALLENGE
As BuzzFeed continues to test and experiment, brands should also get to know what their consumers are looking for, and agencies must push clients to band together and use their collective strengths if they want to go viral.
BuzzFeed’s “Welcome to the Feast” Newfront event ensured that BuzzFeed is ready to partner with “select” brands and agencies to design content, keeping them relevant within the media partner consideration set.
“In this world, a brand has to connect with the real people behind the impressions,” President Greg Coleman states, while letting brands and agencies know that they are “open for business.”
This distinction, and partnership opportunity, proves BuzzFeed’s continued dedication to serving brands in ways that are beneficial to both parties – creating viral content.
Brands and clients constantly vie for the one piece of content that will make their brand go viral. The piece that’s missing, according to BuzzFeed’s “Welcome to the Feast” Newfront, is the connection between the brands and consumers.
A major theme at BuzzFeed’s event wasn’t going viral – it was testing, learning, and reacting. Co-founder Jonah Peretti roots the content creation engine in empathy, claiming that they “don’t aim to make everyone the same – we celebrate what makes people different.” Peretti elaborates that by learning what makes people different, they’re able to produce content that appeals to the masses.
“We usually aren’t trying to make viral hits, we are connecting with our audiences and making content for them” – Jonah Peretti, Co-Founder of BuzzFeed
Coleman hopes to work with brands to focus on BuzzFeed’s key areas of content creation, focusing in on video. Just last August, BuzzFeed employees were trying to figure out the implications of a world with video auto-play – and that little experiment is now the biggest food publisher in the world – Tasty. The team is constantly looking for ways to understand the audience better and work with partners to see where there are pockets of opportunity.
Tasty Junior launched to help parents get kids interested in food they don’t like and is already boasting 5mm videos and 74mm+ views. Tasty Unboxed was responsible for the Oster Grill selling out online and in-stores. In the four short hours since the Newfronts started, a new Tasty recipe has already received 8.3mm views and 75k shares – BuzzFeed’s model of experimentation, refinement, and distribution has clearly connected with the video audiences.
BuzzFeed will partner with NBCU to not only utilize their talent above and behind the camera, but they will also continue to invest in their key content creators. While not groundbreaking, brands and advertisers are invited to sponsor and integrate within this content.
As BuzzFeed continues to test and experiment, brands should get to know what their consumers are looking for and reacting to. Agencies must push clients and content creators to band together and use their collective strengths. Only after that connection is made can a brand hope to go viral.
Cindy Kern is Associate Director, Media, DigitasLBi
MAKER Studios Makes Content Creation Look Easy
THE MAKER STUDIOS NEWFRONT
On the heels of a successful year of launching 50 original shows across 50 distribution platforms in 14 different countries, Maker Studios has returned to the Digital Content Newfronts. While they have scaled down their event this year from a massive undertaking to an intimate room of brand and agency leaders, they are going even bigger with content in 2016 under purview of Disney (which recently purchased the company).
Wikipedia
MCN’S: WHY BRANDS SHOULD CARE
Unlike their peers in this year’s IAB Digital Content Newfronts, Multi Channel Networks (MCNs) are something we should care about, since they provide brands with easy, brand-safe and premium solutions to scale the fragmented video space. The fan bases for these content creators across YouTube, Facebook/Instagram, Vine and Snapchat command massive audiences whose loyalty is unmatched in the online video space. Kendra Johnson, Maker Studios’ Head of Distribution, spoke to this passion, referencing the 1 billion followers that Revelmode (a creator gaming network featuring PewDiePie) has collectively garnered after only 3 months of existence.
AN EMPHASIS ON GAMING
The overall presentation honed in on an emphasis on gaming, which is no surprise given all of the attention that Twitch and eSports have garnered in the last few months; it’s a relatively untapped market that is ripe for brands to harvest. In 2016, Maker Studios will continue to cultivate Spark (their Art + Science tool) allowing brands and influencers to work with their teams to co-create more successful content like the 2015 series “Spin For Ink”, “Worthy” and “Can I Crush It”. Maker Studios, along with seemingly the rest of the world, has realized that gamers no longer fit the stereotype of kids and 30-something guys still living under mom’s roof. Today’s gamer is the ultimate brand loyalist and not afraid to spend their disposable income in areas where passionate; I suspect that brands too will be excited to come along for this ride.
LICENSE TO CREATE
This year, in a surprising pivot from what we have seen Maker Studios do in the past, they will be taking a step out of the niche groups and into mainstream as they co-create an original Star Wars related series. One of the things that I love most about what I saw today is the level of authenticity that they bring to their table. The level of control that they allow their creators to have is truly rare in the digital content space, and I’m excited to see how these creators will put a unique spin on incorporating brand stories into their vision in the months to come at Maker Studios.
Raymonde Green is VP, Partnerships & Investments, DigitasLBi
Bloomberg: Tech First, Content Second
THE BLOOMBERG NEWFRONT
THE LEAD: Smarter. Faster.
THE GOODS: Branded GORP (Yes, Good Old Raisins and Peanuts), Seltzer Water, Kinection branded t-shirt
THE SURPRISE: An appearance and brief speech from Stephen Soderbergh.
THE TAKEAWAY:
Mashable
- Unveiling of a content studio: Kinection
- Positioning as Data and Technology Company First
THE CHALLENGE:
In the sense that Bloomberg Media is putting themselves out as a tech company first, content company second, and their near inexhaustible resources and access (no cable authentication to stream their programming in real-time across TV, mobile and desktop), they are at the very least looking at the media landscape through a different lens than most.
THE EXPERIENCE:
I’m on the 28th floor of the futuristic Bloomberg building, looking out of the floor-to-ceiling windows over an unprecedented view of Manhattan – a fitting reminder of the media company’s C-Suite audience. I manage to nab one of the small parcels of nuts and fruit being passed around on Hors d’oeuvres trays before being ushered into the presentation room.
Before long, the space is packed to standing room only — a testament to the growing interest in digital dollars. The show is delayed while the masses settle, and I watch as various people run around with large 90s style headsets, whispering into them with urgency. It feels like the nervous energy of a first-time fashion show.
Jacki Kelly, COO and Paul Caine, CRO Bloomberg Media, walk out on stage and set the tone:
“We have resources beyond compare,” says Jacki.
Paul nods and later adds:
“We’re a data and technology company.”
This, to me, is a clear differentiation in the market. There are any number of media or content companies fighting for the limelight, and for Bloomberg to acknowledge its roots (and lifeblood) in the terminals that continue to pay the bills is a smart play — building on their foundation rather than flouting it in favor of chasing something flashier.
“Reaching our elite and elusive audience has gotten far more complex,” Paul says, segueing into an announcement of “Kinection” – Bloomberg’s new content studio.
Few details are shared on the actual staffing make-up of the studio, though with Bloomberg’s reputation for global business news and high quality production, there’s certainly bound to be brand interest in seeing what the unit can do.
A slate of new shows were announced, including “Success by Design”, described as “moments that disrupted the fashion world forever”, “Peer to Peer”, described as “content for leaders by leaders”, and “Big Problems. Big Thinkers”, sponsored by Cisco — after which Stephen Soderbergh took to the stage to express his support for the series and his wish “for all of us to remain curious.”
Justin B. Smith, CEO Bloomberg Media, closed out the presentation with a hearty celebration of the brand:
“We at Bloomberg media are radically different.”
In the sense that Bloomberg Media is putting themselves out as a tech company first, content company second and their near inexhaustible resources and access (no cable authentication to stream their programming in real-time across TV, mobile and desktop), they are at the very least looking at the media landscape through a different lens than most.
Michael Todd Cohen (MTC) is VP/Director, Digitas Studios
New York Times Goes Big on VR at the NewFronts
THE NEW YORK TIMES NEWFRONT
THE LEAD
A Visual Future
THE GOODS
Black NYT branded bag with Google Cardboard, NYTVR branded ear buds, The New York Times Magazine, The New York Times Style Magazine
THE SURPRISE
A performance from Lion Babe.
Wikipedia
THE TAKEAWAY
Story[X]:
A physical space within The Times designed to explore and develop products for the evolution of storytelling’s future.
Investment in VR:
- NY Times Magazine to debut the first episodic series in the fall: Voyages.
- T Magazine will debut its first VR films this fall as well, “tak[ing] audiences behind closed doors into creative, historic and rarely-seen spaces”
- Distribution of 300,000 Google Cardboard units with the release of VR film “Seeking Pluto’s Frigid Heart”.
More details: NYT NewFronts Press Release
THE CHALLENGE
The Times has a healthy lead in the VR space and top-notch storytellers to capitalize on the technology in ever-evolving ways. The challenge for any brand is delivering these stories at scale, and in a way that compliments and enhances a brand’s image.
THE EXPERIENCE
A sea of suits greets me as I walk into the Times Center. I dodge and weave my way to the coffee carafes at the far end and then stand sipping until the doors to the auditorium are at last opened.
“This is like a heard of cattle,” I say to a woman just inches from the nape of my neck. “It’s like the subway,” she says “free seats!”
I tuck myself away in the corner on the far left side of the space. A sleek, slowly shifting amalgamation of the Times logo incorporating their various sub-brands plays on the projection screen.
Mark Thompson, CEO, steps out onto the stage and over the course of his pre-amble three main statements emerge:
“The future of media is great content.”
“The future of media is global.”
“The future of media is visual.”
Expounding on these themes, a video is played featuring Lion Babe – the dynamic DJ/Singer duet. Its style references the Bieber and Skrillex piece released in 2015: a marriage of graphics, data and artistic perspective.
Following the video, the Lion Babe duo unexpectedly emerge and erupt into performance. While an interesting enough pop song, it’s always odd to convert a coffee drinking corporate crowd into early-morning concert carousers, but the effort is appreciated.
Meredith Kopit Levien, CRO, announces the creation of Story[X] – a physical space within The Times designed to explore and develop products for the evolution of storytelling’s future.
She’s followed by a line-up of reporters accompanied by stark and sometimes sobering images as they talk through the story arc of recent and upcoming articles – an affirmation of both the New York Times’ commitment to strong visuals and the strength and talent of their press core.
Fast forward to the crowning moment – a look inside NYT VR, The New York Times’ Virtual Reality unit. Last year, The New York Times distributed 1 million Google Cardboard units and their NYT VR app is now the most successful product launch in the company’s history.
Each of us reaches for the Google Cardboard within the event bag. It’s already kitted out with an iPhone with the NYT VR App loaded. We’re told – somewhat awkwardly – that this is not a gift and has to be returned, but that we can keep the cardboard box. The ripping of Velcro resonates through the space as the phones are calibrated and then, following an enthusiastic countdown, we all press play on “Seeking Pluto’s Frigid Heart”, an examination of the dwarf planet.
The images are awe-inspiring, and the narration entrancing — filled with the kind of heady wonder you’d expect from a piece on space exploration. A sound bed of stereoscopic choral music adds to the haunting austerity of space. I’m transported to the surface of Pluto and its inhospitable terrain, the radiant glow of the stars all around. I pull my head from the unit momentarily, and observe others doing the same – as curious about how they look as what they’re looking at, which will continue to be a challenge to the headset-laden VR world.
The Times has a healthy lead in the VR space and top-notch storytellers to capitalize on the technology in ever-evolving ways. The challenge for any brand is delivering these stories at scale, and in a way that compliments and enhances a brand’s image.
SVP Advertising & Innovation, Sebastian Tomich, sums up the experience succinctly:
“We believe that visual advertising is the future.”
Michael Todd Cohen (MTC) is VP/Director, Digitas Studios
Endemol Beyond Newfront: “Speaking to the Internet Generation”
05.06.15 | By Joseph Kotarski —
“We are the Internet generation, and we know how to speak to the Internet generation
ENDEMOL BEYOND NEWFRONT: “Speaking to the Internet Generation”
On the last day of the 2015 Digital Newfronts, Endemol Beyond unveiled their 2015 Newfront with their host Endemol Beyond USA President Will Keenan at Chelsea Piers. The highlight of the event was Endemol’s announcement on launching two more digital networks this year. Pop culture focused “Looksy” and “Smasher”, which are targeted to the sports and gaming culture. Both networks are slated to launch later in 2015.
Endemol Beyond is one of the fastest-growing networks targeted mostly to the millennial audience. Their presence expands across more than 20 platforms, including YouTube, Yahoo, AOL, Roku, TiVo, DailyMotion, and Amazon Fire TV.
Coming off the recent launch of ICON Network with YouTube star Michelle Phan, Endemol is looking to expand their capabilities and build upon their premium, targeted content with partnerships with top talent such as Pitbull, Jessica Sanchez and Andy Milonakis.
Key Announcements:
-Looking to strengthen and build upon its relationship with Pitbull, Endemol plans to launch in 2015 (2) more original series with the pop star…”Masterclass” and “Pitbull Presents”. Both are slated to launch later this year.
- “Masterclass” will feature industry experts who teach everything from dance choreography to how to survive in the wilderness.
- “Pitbull Presents” will be more focused on the entertainer himself, with interviews and content with those close people in his life like his chef, stylist and photographer.
Opportunity for Brands: Launch of New Networks With Premium Talent
Endemol Beyond plans to develop and strengthen itself through quality video content with top talent, much of which is planned to launch in the upcoming months. This content will live across several new channels including:
“Looksy” – A pop cultured focused channel, which appears to be more geared to the female audience hosted by Brittany Furlan and “comedian” Andy Milonakis. Programming features will include a prank show called “Pretty Little Pranksters” with host Jamie Greenberg. Think Punk’d for the young, digital age audience. Looksy will also roll out “Trash To Fab” with Ann Le along with “Decades Beauty” and “Fascinating Women” hosted by Chanis Lincoln.
“Smasher” – A male focused sports, comedy and entertainment channel will feature a pair of Endemol UK imports but with new hosts….“Rule’m Sports” with Toby Turner and “Legends of Gaming” hosted by Jesse Wellens. Both Wellens and Turner combined have nearly 30 million YouTube subscribers. Also, a reboot of Andy Milonakis show called Milonakis 2.0 is also slated to launch on Smasher.
Joseph Kotarski is Media Supervisor, DigitasLBi
DEFY NEWFRONT: “Defy The Newfront”
05.05.15 | By Joseph Kotarski —
On a daily basis, Defy creates more content that more millennials see each day than anybody else out there”.
DEFY NEWFRONT: “Defy The Newfront”
On the sixth day of the Digital NewFronts, Defy Media opened with its President, Keith Richman. The focus of the overall presentation was based around their existing production and distribution capabilities along with plans on producing all new custom programs throughout 2015 across multiple key channels.
Showcasing their success with Break’s “Prank It FWD”, Defy is intent on building close relationships with their partners where they can regularly come in and present their custom programs that are being developed in the vision to forge key alignments with brands. With the help of their 150 strong Creative Lab team and Accumen Reporting, Defy is positioning themselves to deliver creative and engaging custom content for partnering brands targeted to the millennial audience.
Key Announcements:
-CEO Matt Diamond announced their Youtube stars are going to the Big Screen. “Smosh The Movie” will premiere at VidCon on July 23rd, which might be the largest project coming out of the Youtube this year.
-Defy will continue to build out custom, millennial focused content across multiple channels with plans on producing 30+ new series this year.
Opportunity for brands:Launch of 30 New Shows
Defy plans to heavily build up and support their 20MM subscriber gamer brand Smosh. They are currently launching a new scripted format series called “Every [Blank] Ever”. It’s SNL for 13-17 year olds. It will cover topics relevant to every millennial. Episodes of this new series will be coming out on Tuesday 5/12.
Break Media - “Prank It FWD” has been hugely successful without the help and support of advertiser dollars for its creation. They look to continue with Prank, producing a special back-to-school edition this summer, before bringing back another installment in time for Thanksgiving. They are open for brands to align with it.
A current Break series “Super Fan Builds” was also touted during the event. With over 850K views per episode, Defy plans on building out this series in the upcoming year. The series follows real Hollywood prop-makers as they build various items inspired by comic books, video games, movies, and pop culture.
Screen Junkies – With over 4 million subscribers on Youtube, it allows brands to “influence the influencers”. Screen Junkies will roll out 10 new shows this year, including “Movie Fights,” in which a panel of film buffs battle it out over movies.
Clevver – With over 125MM views per month on Youtube, Clevver is Defy’s top Entertainment and Lifestyle channel targeted to women. With close to a dozen shows in production, they previewed several they loved including “Beauty Break”. This series will enlist a team of hosts to try out the most trend-worthy and sometimes odd beauty techniques. “Daily Hollywood Rundown” is also new, where they will cover the top trending stories in entertainment every day focused on hot topic
Made Men – A men’s lifestyle channel also announced a few new series to its stable including:
“Gentleman Up”, a how-to series hosted by Rob Riggle. It basically helps men be better at everything they do in life.
“Mantervention”, a series that follows a host and subject-matter expert as they hold “intervention’s” for guy’s that have been called out by their friends for one major faux-pas or another.
Joseph Kotarski isMedia Supervisor, DigitasLBi
Fullscreen Newfront: “Creator at the Core”
05.05.15 | By Barbara Nonas —
“The way people consume content today is dramatically different, so it’s important to create differently in order to reach them.”
The Fullscreen NewFront: “Creator at the Core”
Fullscreen held its first official NewFront on Monday to a packed house at the Highline Stages in New York’s Meatpacking District. The program featured a mix of content creators, investors, and Fullscreen executives.
Fullscreen is owned by Otter Media, a joint venture between AT&T and The Chernin Group. The company, which boasts 600 million subscribers, is one of the biggest talent networks online. They represent nearly 70,000 content creators including Grace Helbig, The Fine Brothers, and Devin Supertramp. Fullscreen CEO George Strompolos described the multi channel network this way: “…we’re not a production company and we’re not an ad agency. We’re a media company that understands how to program to millennials and young adults.”
During the presentation, Fullscreen showcased their premium original content including Electra Woman & Dyna Girl, a superhero series starring Grace Helbig and Hannah Hart; The Outfield, a high-school comedy starring Vine stars Cameron Dallas and Nash Grier; and Lazer Team, a sci-fi film comedy from digital production studio Rooster Teeth, which Fullscreen acquired last year.
Fullscreen focused on two key messages during their NewFront: that creators are at the core of their content, and that they create content differently.
Key Announcements:
The acquisition of McBeard, a social-media studio that creates branded content for clients including 20th Century Fox, Coca-Cola, and Netflix. The deal was (appropriately) finalized via Snapchat.
A real-time custom video offering for brands via Twitter’s Amplify program.
A new addition to their talent network: prominent fashion vlogger Eva Gutowski (aka: MyLifeAsEva; subscribers: 2.4 million)
Opportunity for brands:
Fullscreen works with their roster of social media stars to create custom content for brands across YouTube, Instagram, Vine, and Snapchat. The majority of their audience is made up of millennials and teens-they reach one in four online video viewers in the under 35 demo per month. To retain this key demographic they have their creators, who have strong, pre-established, ‘authentic’ relationships with their audiences, create the content. As teen performers Jack and Jack stated on stage, “We know our fans better than anyone, and we want to produce the best content for them.” Fullscreen combines the authenticity of their creators with high quality production values, thanks to a professional in-house production company.
Several brand partnerships were highlighted during the program. David Christopher, CMO of AT&T Mobility, took the stage to talk about partnering with Fullscreen on the reality show @SummerBreak, which was sponsored by AT&T. Fullscreen also produces SnapperHero for AT&T- the first episodic show built exclusively for Snapchat. Teen web star Andrea Russett enthusiastically described teaming up with Pizza Hut to create her own signature pizza, as part of the brand’s initiative to revamp its menu and introduce new ingredients, as well as the success of the Sour Patch Kids scripted series in which she stars.
Web celebs Jack & Jack closed the show with a live performance, singing to a group of teenage fans gathered in front of the stage.
“There’s nothing more powerful than direct access to fans … and at Fullscreen, we’re making this possible.”
EVENT DETAILS:
Date: May 4 @ 12pm
Location: Highline Stages
Host: George Strompolos (Founder & CEO)
Special guests (highlights): Andrea Russett (Creator, 7 Million+ followers across platforms); Jack & Jack (Creators, 16 Million+ followers across platforms); David Christopher (CMO, AT&T Mobility); Peter Chernin, (CEO, The Chernin Group
Barbara Nonas is on the Corporate Communications team, DigitasLBi
‘Sometimes On’ Podcast: What Shouldn’t I Be Telling Them? [ft. Rishad Tobaccowala, Chief Strategist, Publicis Groupe]
The greatest trick the devil ever pulled was convincing the world he didn’t exist. Have content creators managed something similar with marketers? Discover the truth in this ‘Sometimes On’ Podcast from DigitasLBi, featuring Rishad Tobaccowala of Publicis Groupe, and Randall Rothenberg from the IAB.
‘Sometimes On’ Podcast: The Path to Brand Salvation, NewFront Edition [ft. Randall Rothenberg, President of the IAB]
Will this year’s #NewFronts lead brands to true salvation? Check out this ‘Sometimes On’ podcast, featuring Scott Donaton of DigitasLBi and Randall Rothenberg, president of the IAB.
Digital Revelation: Embracing the Light of Truth [ft. Carla Wilke, SVP, Brand & Creative Strategy, DigitasLBi]
Want to share better brand stories? Stop trying to make them perfect. Discover the power of honesty in this Revelation from DigitasLBi featuring Randall Rothenberg (IAB), Chris Bannon (Midroll), Carla Wilke (DigitasLBi) and others.
Daily Revelation: A Test of Faith [ft. Rick Hamann, SVP, Content, The Onion]
Does the secret to great content lie in a loss of control? Test your faith in this #NewFronts Revelation from DigitasLBi, featuring Amy O’Leary (Upworthy), Jen Danielson (Above Average), Rick Hamann (The Onion) and others.
DigitasLBi NewFront: DIGITAL REVELATIONS
Check out the “Revelations” revealed by our onstage NewFront prophets, including Shane Smith, Judy McGrath, Tom Freston, Bob Pittman, and more….
The Google NewFront: BRANDCAST
04.29.15 | By Raymonde Green —
Google BRANDCAST kicked off at Skylight Studios – a short walk from Madison Square Gardens – with a meet and greet for YouTube creators and fans. We then traveled to MSG for the presentation itself; upon entering the Garden, we saw the first few rows occupied by a (very) excited fan base of teens, hoping to get a front row look at their favorite content creators.
A Quickly Growing Fan Base
YouTube’s visitation is up over 50%, and last year they reached more 18-49 year olds than any cable network (and this year, mobile alone exceeded that number). To further explain, a Variety research study said that teens have higher affinity for YouTube stars than for Hollywood A-listers.
Four of the top trending videos on YouTube last year were from brands. And in 2014, Google ran over 10,000 brand lift studies to rove out the strength of their performance, finding that consumers are skipping fewer ads than ever before.
UGC = High Quality Entertainment
Google had their content creators present and on stage, perhaps in a move to shift the perception of user generated content (UGC) into high quality entertainment with a loyal, passionate audience. Essentially, they positioned themselves as the voice of the new and future generations. Similar to what we’ve seen at other NewFronts, these YouTube creators are being picked up by many of the linear networks for their own shows.
Connections Stronger Than Views
The show closed with the statement that connections being stronger than views. YouTube touted that people come there to be a part of a community with their creators, in contrast to broadcast and cable network viewers who are there for pure distraction. They believe that they can build communities for brands just as well as they’ve build them for the content creators.
EVENT DETAILS:
Date: April 29 @ 7:30PM
Location: Madison Square Garden
Host(s): Grace Helbig
Raymonde Green is VP, Partnerships and Investments, DigitasLBi
The Playstation NEWFRONT: (Literally) Changing Their Game
04.29.15 | By Raymonde Green —
The PlayStation (PSN) Newfront was in complete contrast to the madness that has ensued around all of the other Newfronts I’ve attended thus far this week.. Sony invited a select handful of about 50 marketers from both agency and client sides into their intimate screening room, to show how they’re evolving to be more than just a gaming console. Today’s presentation also followed a recent restructure of their sales team that incorporates all of the PlayStation premium products under one umbrella, rebranded the PlayStation Network.
A Cord-Cutter’s Dream
Of the many features that PlayStation showcased, the most impressive was PlayStation Vue, which serves as a direct alternative to a cable subscription or satellite TV service. With about 3x the channels as Sling TV, PlayStation Vue is a cord cutter’s dream. It’s also ideal for PlayStation users (84% of which stream video at least once a week). Vue is currently in early launch mode, and is available in Philadelphia, Chicago, and New York. PlayStation says that “viewing” is searching for content you want based on what is on at the time. “Vueing” is their technology learning (from your searches and past activity) what you like, and allowing you to select the best programs for you on your own terms.
Ads Well-Received
According to a recent study with Magid and Associates, the native ads within the PlayStation environment score more positively in sentiment than on other SVOD platforms. A recent Jordan sneaker campaign that ran on PSN achieved 34mm views just after launch, and exceeded the performance of what the brand saw on YouTube. Now, with the ability to target some of their user registration data such as DMA, gender, age and time, PSN is in a fantastic position to launch an addressable TV strategy and execute highly customizable and relevant campaigns in the months to come. The potential to eliminate the wasted scale of speaking to the wrong audiences, yet still be able to align with top rated programs as the viewer watches these shows across a variety of networks is an exciting opportunity for marketers.
The Original Content Ring
PlayStation has also thrown their hat into the original content ring. Recently, they launched “Powers” a scripted sci-fi police drama accessible to their passionate fan base of PlayStation Plus users. To date, the show, with its high quality production value and enticing story line, speaks to their core user base (males 18-34) and has been receiving rave reviews. With the powerhouse of Sony behind them, we expected nothing less – and there are likely many more projects in the works.
Walking away from today’s presentation, I was both impressed and refreshed at the direction that PlayStation is moving in. In my mind, they are no longer just a game console; they are an entertainment system in every sense of the word. The opportunity is ripe for the picking for agencies and brands, with almost limitless potential.
EVENT DETAILS:
Date: April 29 @ 12PM
Location: Sony Studios, 404 5th Avenue
Host(s): James Smith, SVP, Ad Sales
Raymonde Green is VP, Partnerships and Investments, DigitasLBi
The Hulu NEWFRONT: Redefining Television
Goodbye Hulu Plus; Hello, C.I.C.
Peter Naylor first announced that Hulu is doing away with Hulu Plus, to streamline brand identity. This year, they will focus heavily on making the ad experience better for consumers, after realizing that choice-based advertising brought a significant lift in ad recall and awareness. On that same note, they announced C.I.C., a new way to co-develop commercials with brands on Hulu. The intended goal is to incorporate the content that drives audiences to Hulu, making the ad experience less intrusive and improving consumer response. And Hulu now offers programmatic buying, which will lighten their ad load and further improve their consumer ad experience.
Original Content: Here to Stay
Original content will continue to be a pillar for Hulu; six original series will be returning for additional seasons in the coming year. The biggest original content announcement was the debut of 11/22/63, a J.J. Abrams-produced miniseries based on the Stephen King book about a time traveler (played by James Franco) who goes back in time to attempt to stop the JFK assassination. And Billy Eichner will star in a comedy produced by Amy Poehler titled Difficult People, which looks to be one of the more promising originals.
(Even) Stronger Cable Partnerships
The fact remains that people primarily go to Hulu to catch up on broadcast and cable network shows a day (or season) after the original air date. As a result, Hulu has increased the volume of partnerships that they have with cable networks in order to become the exclusive SVOD home for top cable programs like Adult Swim. Hulu will also be the exclusive home for every episode (ever!) of South Park and Seinfeld. In a smart move based on audience trends, Hulu also secured exclusive SVOD rights for Fox’s Empire.
Another big announcement was an exclusive deal with AMC. Hulu will now be the home for all future AMC shows; which means it will be the SVOD home for the highly anticipated series Fear the Walking Dead. These elevations across their content library are positioning them to rival the vast arsenal of Netflix.
Hulu remains the best option for clients who wish to align with high rated, premium content without the massive on-air price tag. Because Hulu lives on a majority of platforms – from Roku to Playstation – it’s the most scalable client solution to date.
EVENT DETAILS:
Date: April 29 @ 9am
Location: Hammerstein Ballroom, 311 W. 34th St, New York, NY
Host(s): Peter Naylor, SVP, Advertising Sales, Hulu
Raymonde Green is VP, Partnerships and Investments, DigitasLBi
Daily Revelation: The Path to Digital Salvation [ft. Amy O’Leary, Editorial Director, Upworthy]
Does finding the path to digital enlightenment require us to first lose our way? Discover your path in this Daily Revelation from DigitasLBi, featuring Ezra Cooperstein (Fullscreen), Amy O’Leary (Upworthy), Adam Shlachter (DigitasLBi), and others.
