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GroupM Motion Entertainment
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Robert Serena
The stage was set at the NAB Show 2024. Hundreds of products battled for supremacy in the ever-evolving streaming video arena. Tensions were high as the industry's elite judging panel meticulously evaluated each offering. Then, a true champion emerged from the fray. Vimond's VIA App Builder captivated the experts with a perfect fusion of power and elegance. Features that dazzled: - Lightning-fast development capabilities that make deploying streaming services across devices a mere formality. - An interface so intuitive even a novice could wield its might. - Unparalleled content management that monetises like never before. In an epic clash of innovation, the VIA App Builder reigned supreme – conquering the "Next TV" category to seize the coveted Best of Show honour. A thousand competitors stood in awe. This was more than just an award. It was a statement of Vimond's unwavering commitment to streamlining video streaming for the modern era. An undisputed mark of quality that will shatter industry conventions. The victory horn has sounded. All others have been put on notice. Brace yourselves for the VIA App Builder's continued dominance, as it leads content creators to a new era of broadcast supremacy. https://lnkd.in/gssvefKG
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1 Comment -
Matt Kramer
According to Nielsen’s latest report from June 2024, streaming has hit an all-time high, accounting for 40.3% of total TV usage! This surpasses the previous record set by cable in June 2021, marking a historic moment in TV consumption. The TV landscape is evolving rapidly, with streaming services continuously capturing more audience share. ✔ Disney+, Tubi, Netflix, and Max saw double-digit monthly usage growth. ✔ Younger viewers (17 and under) played a significant role, with a 16% increase in viewing from kids aged 2-11. ✔ Top streaming titles like Netflix’s Bridgerton and Your Honor on Netflix and Paramount+ dominated viewing minutes.
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Raymond Frederick Oelrich
Very good insight! I agree, the landscape is shifting. Adapt or die. As a TV and movie production company we can align with the streaming platforms, and with half a dozen companies reach HALF of the entire world's population. By doing so we can also control our own destiny and costs. That is alluring. The media distribution marketplace will dramatically change in the next 36 months. Is there a place for cinema, theatres, streaming, and other alternative delivery methods to co-exist? Time will tell, we all adapt, we all evolve, that is the nature of business. Here is a prelude of things to come...
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Tom Molen
Nielsen noted that while broadcast and cable saw a decline in viewership year over year, it was not to the same extent as the 2022-23 intervals. In May 2023, traditional linear TV viewing fell 7 share points year over year. In comparison, it was about half of that with a loss of 3.4 points this year.
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Kevin Krim
Measurement remains a paramount concern for CMOs in the back half of 2024. A recent WARC survey underscores this sentiment, revealing that 78% of CMOs are prioritizing better measurement frameworks to enhance decision-making and prove ROI. Verizon Value CMO Cheryl Gresham’s commentary in Ad Age underlines these findings, emphasizing the need for robust outcomes measurement to drive ad effectiveness. Understanding the true impact of your marketing efforts is more critical than ever in today's complex TV environment. Outcomes deliver tangible results, empowering Fortune 500 CMOs like Cheryl to make informed, strategic decisions that align their organizations. Effective outcomes measurement isn’t just about proving value – it’s about shaping future strategies with confidence. Great read from Adrianne Pasquarelli. https://lnkd.in/eaKPZ53t #CMO #measurement #outcomes
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1 Comment -
Tyrone Miller
The Future of Streaming: Netflix, Apple TV, and Peacock Join Forces with Comcast Discover the latest power move in the streaming world as Netflix, Apple TV, and Peacock team up to offer a combined service through Comcast. Is this the new era of cable? Find out everything you need to know about this upcoming streaming sensation. #NetflixAppleTVPeacock #StreamingService #CableAlternative #ComcastXfinity #FutureOfStreaming #EntertainmentNews #DigitalStreaming #CordCutting #StreamingSensation #TechUpdates
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Dominique Zgarka
Another amazing release from your friends at SRG-ILS / Virgin / UMG New single, "SO IN LOVE" from music royalty and multi-award winning singer-songwriter-producer and activist, LALAH HATHAWAY. "SO IN LOVE" serves as the official first single release from Lalah Hathaway's forthcoming studio album, "VANTABLACK." "So In Love" can be found on all streaming/download platforms now. The anticipated eighth studio album will be globally released on June 14th, 2024, and is available for pre-orders now, via the Hathaway Entertainment/SRG-ILS Group (Virgin Music Group) label imprint. ‘So In Love’ was written by Philip Beaudreau and I a couple years ago with the intention to pitch it, but we loved it so much and decided to sit with it for a while. I’ve recently added it to my show and it’s one of the most beloved pieces that we perform," shares Lalah. ‘So In Love’ has such a vibe and like a lot of the work i do, it explores some of the more non traditional ideas about love, and self love. The video does this on a grand scale!", she adds. Speaking of the music video, the stunning visuals of the "So In Love" music video will be making its global premiere on BET Soul and BET.com on Thursday, May 9th. As we prepare for the release of VANTABLACK, music lovers abroad will be taken on a magical ride of this new Lalah Hathaway era, as she will be treating them with a new music every other week leading up to the release of VANTABLACK. Lalah Hathaway comments, "VANTABLACK was always the name of the project. The word itself has so much weight on it, I was really unsure of how to approach the idea of writing the song. At the time, what I thought were conflicting perspectives, actually began to shape the concept of not only this album but also how I saw myself. I started reframing how I saw color, in terms of being the blackest I've ever been and even though I'm steeped in who I am, it doesn't exclude the other things that make up the sum of me. Similar to how all the music around me informs the black music that I create. So it's all a melting pot and this song truly exemplifies that." CONNECT WITH LALAH HATHAWAY: Website: www.LalahHathaway.com Instagram: @LalahHathaway X: @LalahHathaway Meta: /LalahHathaway
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Mike Ryan
The real reason your OTT service is hemorrhaging subscribers (and what you can do about it): Ever click away from a streaming service because it just felt... off? What a waste of marketing dollars. As streaming matures, viewers are increasingly abandoning services with subpar user experiences. The stakes are high. Poor UX isn't just annoying—it's costing OTT services real money. Think about it: • No personalized recommendations? Viewers waste time searching, get frustrated, and leave. • No auto-playing trailers? Fewer "just one more episode" moments. • No language options? You're shutting out entire markets. These UX missteps don't just damage engagement. They obliterate loyalty, spike churn rates, and kneecap ARPU growth. The path forward? Embracing UX innovation. Three UX features are increasingly essential: - AI/ML-powered personalization - Automatic trailer previews with clear calls-to-action - Full multi-language localization (apps, metadata, content) These aren't just nice-to-haves. They're becoming necessities for ARPU growth and reducing churn in the maturing streaming market. How can providers implement these premium features without excessive time and cost? 𝗜𝗻𝘃𝗲𝘀𝘁 𝗶𝗻 𝗺𝗼𝗱𝗲𝗿𝗻, 𝗮𝗽𝗽-𝗰𝗲𝗻𝘁𝗿𝗶𝗰 𝗢𝗧𝗧 𝘀𝗼𝗹𝘂𝘁𝗶𝗼𝗻𝘀 𝗳𝗼𝗰𝘂𝘀𝗲𝗱 𝗼𝗻 𝗸𝗲𝗲𝗽𝗶𝗻𝗴 𝘂𝗽 𝘄𝗶𝘁𝗵 𝗻𝗲𝘄 𝘀𝘁𝗮𝗻𝗱𝗮𝗿𝗱𝘀 𝗶𝗻 𝘁𝗵𝗲 𝘃𝗶𝗲𝘄𝗲𝗿 𝗲𝘅𝗽𝗲𝗿𝗶𝗲𝗻𝗰𝗲. Agree? What did I miss? What UX improvements do you think are most urgent? Drop it in the comments 👇 ------------------------ p.s. -> If you don't know where to start, ask me about A Different Engine 's App Audit for Streaming Services. We'll help you identify areas of risk in your streaming service. Interested in an overview? Drop "AUDIT" in the comments, and I'll reach out with more information. ------------------------
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Alan Wolk
𝗧𝗵𝗲 𝗜𝗻𝗲𝗳𝗳𝗶𝗰𝗶𝗲𝗻𝗰𝘆 𝗢𝗳 𝗦𝗲𝗹𝗹𝗶𝗻𝗴 𝗟𝗶𝗻𝗲𝗮𝗿 𝗮𝗻𝗱 𝗦𝘁𝗿𝗲𝗮𝗺𝗶𝗻𝗴 𝗧𝗩 𝗦𝗲𝗽𝗮𝗿𝗮𝘁𝗲𝗹𝘆 In the ever-evolving landscape of television, the traditional boundaries between linear and streaming TV are becoming increasingly blurred. Yet, the industry continues to treat them as distinct entities, selling ad inventory separately for each platform. Some brands and agencies even lump streaming in with digital video and buy them that way. This approach is not only inefficient but also fails to align with the way consumers actually view content. A Unified Approach: Premium vs. Non-Premium Inventory Consumers don’t differentiate between “linear” and “streaming” or “TV” and “digital.” To them, it’s all just “TV.” Given this, it’s time to rethink how we sell advertising inventory so that it aligns with the way viewers see it. Instead of the outdated dichotomy of linear versus streaming, we need to categorize inventory into “premium” and “non-premium” across both platforms. This is not as crazy as it sounds—it has been proven to increase CPMs and thus profitability. But first, a little on how it would work. “Premium inventory” e.g., top-rated originals, library hits and prime-time slots, would continue to be sold via direct sales. This method ensures publishers will continue to get top dollar for their best content, maintaining the profitability of their premium offerings. Direct sales offer a level of control and personalization that is crucial for high-profile offerings, whether those offerings are on linear or on streaming. The latter is key for two reasons: more and more viewers are becoming “streaming first” viewers, even if they still do keep a linear subscription, and more and more streaming services are rolling out originals and picking up sports rights. The combination means there is more premium content on streaming and that more people are watching it. All the more reason to sell it directly. Non-premium inventory, OTOH, is better suited for programmatic – or at least automated - sales. Automated buying excels at targeting specific audiences, making it an ideal solution for monetizing non-premium content. By leveraging data and automation, programmatic sales can connect niche audiences with the advertisers who are looking for them, thus maximizing value, fill rates, and utilization. Automated audience-based trading has long been the go-to for streaming inventory, but it’s time for linear services to adopt it too, at least for their non-premium inventory. This is not as painful as it sounds. Spot buying is notoriously inefficient for low-value inventory and uses up needless resources. Automating it has been proven to drive up profitability while also lowering trading costs. And by “proven” I mean “proven with real-world examples in markets outside the US.” READ THE REST ON TVREV https://lnkd.in/erJDT_3n
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17 Comments -
Jason Odom
🚀 Streaming Takes the Lead! 🚀 According to Nielsen, streaming has surged to over 40% of TV usage in June 2024! This significant milestone highlights a seismic shift in how we consume media, leaving traditional TV formats trailing behind. As streaming platforms continue to dominate, the landscape of entertainment is being reshaped right before our eyes. 📈📺 #MediaTrends #Streaming #DigitalTransformation #Nielsen https://lnkd.in/gVx8NneQ
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Kevin Krim
Did you know that TV viewers were 6% more likely to engage with ads during #SNL’s just-wrapped season 49 as compared to the broadcast primetime TV average? That's a big deal for a late night show on Saturday nights. To boot, ads aired during SNL were over 2x more effective than other late-night broadcast programming since season 49 made its mid-season, post-strikes debut. Now, NBCUniversal has announced advertisers including Allstate, L'Oréal, T-Mobile, and Volkswagen of America, Inc as season-long sponsors for the program’s golden 50th. SNL fans can expect a significant advertising push from the quartet this fall, culminating in a live, three-hour primetime special in February. SNL is a clear testament to the impact of live, tentpole programming in captivating consumer engagement and delivering business outcomes for advertisers. More from our friend Wayne Friedman in MediaPost. https://lnkd.in/ead2-dPt Oh, and happy 50th SNL! 🎉
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Pierre Hergaut
Like most FAST services, such as Paramount’s Pluto TV, The Roku Channel, Xumo and smart TV OEM platforms Samsung TV Plus, Vizio WatchFree+ and others, Tubi offers a mix of live linear-style streaming channels as well as on-demand content. Murdoch on Wednesday’s earnings call said that across content available on the platform, 90% of viewing happens in the on-demand environment. “This is very important because when the viewing comes on-demand and it’s proactively on-demand, as opposed to passively sort of sitting back and watching a FAST channel, that’s much more valuable to advertisers,” Other FASTs are leaning into on-demand as well. Samsung TV Plus, for example, initially focused more on linear FAST channels but during this year’s NewFronts presentation said it plans to double the amount of VOD content available, after having already done so last year. “money will continue to flow from linear entertain television, particularly cable entertainment networks, into streaming” including AVOD, SVOD, and ad-supported SVODs, Murdoch said. “That trend… will not slow" #FAST #AVOD #streaming #on-demand #content #TV
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Todd F. Brown, PMP
They other streamers are gonna have a hard time competing. If cable bundling returns, they will do it. YouTube Accounted for Nearly 10% of All TV Viewing in March, Nielsen Says It’s the largest share for a streaming platform ever recorded by The Gauge, despite a 3% drop in total. YouTube was once again the breakout star of Nielsen’s monthly The Gauge report. During the month of March, the platform accounted for 9.7% of all television viewing, an increase of 0.4 share points from February. This is the largest share of TV for a streaming platform ever reported in The Gauge. This month marked YouTube’s 13th consecutive month as having the largest share among streaming services. Overall, TV usage dropped 3% from February to March, which wasn’t a surprise. This drop aligns with seasonal trends Nielsen has previously recorded. However, cable and streaming felt this impact the least. Unsurprisingly, streaming was the category winner of March as it was the only category to see a year-over-year increase. Compared to March of 2023, streaming viewership rose 12%, and the category added 4.4 share points. Streaming was also minimally impacted during the February-to-March drop. Viewership for streaming fell just 1%, resulting in a 38.5% share of overall TV viewed for the month of March. Though YouTube was the most watched streamer, accounting for the aforementioned 9.7% of total TV viewed, Netflix was close behind, making up 8.1% of the category. The company also boasted three of the month’s most-watched streaming originals, which resulted in a combined nearly 15 million viewing minutes for March: “Love Is Blind,” “The Gentleman” and “Avatar: The Last Airbender.” Though cable wasn’t as impacted from February to March, it did experience a year-over-year decline. The category saw a decline of 10% and a loss of 2.8 share points when compared to the same time period in 2023. Viewing on cable from February to March saw a 0.7-point bump in share points, resulting in 28.3% of all television being watched on cable networks. This was partially due to college basketball viewership, specifically viewership around the women’s NCAA tournament. The matchup between Iowa and West Virginia brought in 4.9 million viewers on ESPN and ranked as the No. 7 cable telecast for the month. The State of the Union also gave cable a viewership bump, earning 14.1 million viewers for cable and 32.3 million viewers altogether. Despite this drop, The Gauge report made note of broadcast’s resiliency. Since the report was first released in 2021, broadcast has always made up the smallest share of overall TV viewership, originally accounting for 25.4% of TV compared to cable’s 39.5% and streaming’s 26.2%.
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Indian Broadcasting World
TV distribution companies are implementing bundling strategies to combat subscriber churn and enhance customer retention amidst industry upheaval… Read More At:- https://lnkd.in/eq7f-i6a #TVDISTRIBUTION #companies #strategies #combat #subscriber #customer #industry #news #NewsUpdate #newsfeed #dailynews #IBWNews
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Jamie Branson
The sustainability of Streaming TV, FAST Channels, and AVOD (also known as FAST) hinges on the principle that operational costs must be eclipsed by profits. Currently, this balance is not being met. The crux of the issue with Streaming TV’s viability as a business lies not in technology but in a significant inefficiency in monetizing audiences. To elaborate, the advertising process involves a chain of 4-7 companies, each taking a cut, which results in the platform and content owner receiving a smaller share of ad revenue compared to platforms like YouTube. https://lnkd.in/dtBBQArp
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Jose (Jay) Cruz
AND IN STREAMING NEWS: Streaming viewership reached a record high share of TV usage in May, with 38.8%. YouTube was the most-watched platform for the 16th consecutive month with a 9.7% share, followed by Netflix (7.6%), Hulu (3.1%) and Prime Video (3.0%). Broadcast accounted for 22.3% of total TV time, while cable accounted for 28.2%.
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Brian Donlon
Anyone who has ever set foot on the historic Paramount Pictures lot, must be disturbed by William Cohan 's reporting in Puck about Sony and Apollo Global Management, Inc. teaming up to buy the studio's parent company, Paramount Global (formerly Viacom). Gone will be hundreds of jobs in "marketing, distribution, business affairs, digital programming, etcetera. That might generate $3 billion in savings. " If that isn't bad enough.... the " extraordinary Paramount lot, near Hancock Park, would get sold for as much as another $1 billion." Is there a more iconic image of Hollywood and movie magic than the Paramount gate? (see below) Cohan also reports that "Paramount’s films would go to Sony Pictures, and any projects in production, on the shelf, or that need a turnaround, would also go to Sony." The consolidation of media continues to be troubling. Apollo's hand in the Gannett | USA TODAY NETWORK merger hasn't been a home run for journalists or consumers. As for Sony, government regulations prohibit foreign companies from owning TV networks & stations so what would that mean for CBS. So Apollo likely would fold CBS with its majority stake in the Cox stations. But that will likely exceed the limit the government permits any one company to own. So some stations may be sold. Does any of this sound good for journalism? Consumers? The entertainment business? Probably not, but read Bill Cohan 's work because it is good for shareholders of Paramount. There is an alternative that might not be great for shareholders but has proven pros like Jeff Zucker ready to right the Paramount ship. https://lnkd.in/eNTVaNYs
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Kevin Krim
I recently spoke with Alyssa Boyle about why advertisers are doubling down on #CTV outcomes measurement (as affirmed by many conversations I had with industry leaders in Cannes this past week). A common theme among the marketers I talked to? They’re looking for metrics that can predict sales based on fast, accurate data. Outcomes such as search activity, website visits, and app downloads are significant indicators that a consumer is considering a purchase — and highly correlated with a brand’s market share. That’s why a brand’s Share of Search grows (or shrinks) before its market share – which our data, validated by Les Binet and the EffWorks working group of the IPA (Institute of Practitioners in Advertising), has proven time and again. Given this, it’s no wonder why modern marketers need reliable, investment-grade outcomes data to navigate this complex era of linear and streaming TV. Check out the condensed version of my conversation with Alyssa in AdExchanger for more. https://lnkd.in/erkGsKJi
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