Showing posts with label Online content strategy. Show all posts
Showing posts with label Online content strategy. Show all posts

Saturday, March 27, 2010

Skytide Shares Insight for Online Video Publishers, Identify the “Sweet Spot" and What is "Good Enough"


In part two of my conversation with Roy Peterkofsky, VP of Product Management at Skytide, I asked what can publishers really get from analytics that could really help monetize their businesses. Roy suggested that businesses are waking up to the fact that the online video part of their organization does need to be a real business. He recommended that people should read Warren Buffet, because all businesses make decisions based on resource allocation. Among the core challenges facing online video publishers, is how to define the "sweet spot" and what is "good enough" when it comes to the affect that quality has on viewer engagement. Quality can be defined in terms of both quality of service (QoS) of the content delivery network, and the actual quality of the content that is produced and published online.



Some digital media companies assume that "more is better" and that the road to higher profits lies in maximizing QoS levels, thinking that it will result in higher viewer engagement levels, and in turn, more consumption of their content. Roy suggested that performace-based metrics can help with editorial and content programming decisions, whether a certain genre performs better than another. Or when data shows that viewers stop watching a 5 minute video after 2 minutes, viewer drop off can impact the production of future videos and dictate their total run time. Also, since the shelf life of a video online is pretty short – to get value out of analytics, you need to be able to use the analytics predictively.

Roy said:
"People talk frequently about the need to push higher resolutions, higher bit rates out to their customers – to be as close to HD, whatever that means in the Internet world – as they can be. But the question that remains unanswered is – is it worth it? Do you really get more viewer engagement to the extent that it drives monetization out of doing this?"
According to Skytide's customer data, there is a correlation between engagement and bit rate when it's down in the lower reaches and not good enough, people will abandon the video quickly. But once you get to a level that's good enough things really start to flatten out, and you really don't get that much added value.

So what is good enough?
"Well basically, it's kind of about if you're using the maximum capability of a typical DSL line. That seems to be good enough for most people. Above and that you're spending a lot on encoding, you're spending a lot of money on pushing out bits through your CDN – and you're not getting that much return from it."
Skytide advises that publishers measure and understand the impact of online video investments before spending the money.

See part one of my interview with Roy Peterkofsky here. You can also request a copy of Skytide's white paper Streaming Video Quality: Is more always better?


About Roy Peterkofsky, Vice President of Product Management
Roy is a seasoned software developer and marketer who specializes in turning new technology visions into marketable stories and profitable products. Before joining Skytide, Roy operated a successful product strategy and development consulting practice. Previously, he was Senior Director of Product Management at Enkata, helping transform it from a business intelligence platform company into an applications vendor. Prior to that, Roy served as Product Director at Oracle where he developed a new product that garnered $20 million of revenue in its first year. He was also a co-founder of eWorld Systems and Hawaii Superferry and a Product Manager at i2 Technologies. Roy holds a Master of Engineering degree from UC Berkeley, as well as Bachelor’s degrees in Electrical Engineering and Mathematics from MIT.


Update 3/28/10: Added additional text and links to post

Sunday, April 5, 2009

Traditional Media in Transition Features For Your Imagination CEO Paul Kontonis on Web Video Distribution Strategies

Leading online digital media studio For Your Imagination develops, packages and distributes high-quality original Internet TV and web video series. The New York-based studio works with brands and content creators to develop their online video content, offering them the opportunity to reach a targeted, advertiser-friendly audience.

I recently spoke with CEO Paul Kontonis about FYI's sponsorship deal with Warner Brothers to promote the 'Watchmen' movie on their Axis of Comedy network. The promotional campaign was both unique and groundbreaking for the digital media and the two-part interview with Paul is here and here.

The media industry web series, Traditional Media in Transition, has a new episode featuring Paul who speaks more about the promotional campaign which provided narrative integration of a Watchmen-themed storyline through four programs within For Your Imagination's video network, including an original Kyle Piccolo Comic Shop Therapist mini-web series. Paul goes on to discuss challenges facing the new media industry along with some progressive strategies to address them.




"The ability to distribute your content anywhere on the web is one of the promises of web video." Paul says, "Just because it's out there doesn't mean it's going to be seen. You really have to become part of the conversation that your content lives in and you have to be able to engage your audience."

For Your Imagination's four principles of their distribution strategy:
  1. Building a robust destination site
  2. Finding the communities out there to tap into that support video
  3. Reaching out to top influencers, the real fans
  4. Going deeper into the vertical to build relationships with sites to carry the content
Visit For Your Imagination's web site for more on their web video capabilities.

TMIT is produced by Zoom In Online (ZIO), an award winning online video network, covering the best in pop-culture, providing visitors with the latest happenings in arts, entertainment, culture and technology with four online communities: Film & TV, Music, Photography and Design. You can subscribe to Traditional Media in Transition on iTunes, here. For more information visit www.zoom-in.com.

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Thursday, March 12, 2009

Graspr Unleashes Experiential Knowledge Through Online Video, Extends Brand through Innovation and Syndication on Glam Media Network

In a crowded field of How-to video sites Graspr has been innovating and expanding beyond its reach as a video destination site. In December 2008, Graspr joined the Glam Media network as a video content provider. I had the opportunity to speak with Graspr CEO Teresa Phillips before the new year about the recent Glam Media syndication deal, their innovative gCard™ and how Graspr differentiates itself from other How-to sites as an instructional video network. The Grapsr web site emphasises community sharing and this past week Grapsr integrated Facebook Connect to allow video producers to login using their Facebook accounts, and invite friends to share the wealth of knowledge available on the site.

Launched in September 2007 by Teresa Phillips, a former executive at both Yahoo and Time Warner, Graspr raised $2.5 million in Series A funding from Draper Fisher Jurvetson and angel investors and is a privately-held company based in Mountain View, California. Graspr is the world's leading instructional video network with over 30,000 videos under 17 different categories from producers and experts across major lifestyle markets, Graspr defines itself as the only site where learners, users, and creators of videos can edit, watch, collaborate on, and syndicate to make money from instructional videos.

Previously, in October 2008 Grapsr released an advanced video player widget called the “gCard” that carries the identity of a video creator wherever his or her video gets embedded across the net. The gCard is available for free to every producer who uploads their videos to Graspr or any user who creates a collection of videos on Graspr.

According to Teresa Phillips, "Graspr's gCard" uniquely enables producers of instructional videos to promote themselves within the videos they produce. The gCard is seamlessly embedded within every video a producer publishes, and is available to viewers via an on-screen icon that, when clicked, displays the producer's contact details and specialties, and showcases the producer's entire video gallery. The gCard creates a persistent presence for the producer in that it accompanies all videos at all times, whether a producer or user shares individual videos themselves or the videos are distributed through Graspr's syndication network of several thousand sites. The gCard allows producers to interact with their community at all times, promote their brand and expertise across the Internet and monetize their video content. Click here to see an example.

In my conversation with Teresa Phillips, she spoke at length about her passion in creating new markets and product categories
for experiential knowledge and that Grapr's purpose is to purpose is to help deliver that knowledge to the people who seek it. The following interview took place following their big announcement that Graspr had joined Glam Media network.

Larry Kless: It's real exciting news has it hit the airwaves Graspr Goes Glam, The How-to space for video has gotten really big in the last year.

Teresa Phillips: Yes, really exciting. It's certainly been validated over the last year or so. There are companies with a lot of traction and we're all taking a different approach and I think we're reaching critical mass, especially in terms of producers and people who are creating. If you look at the top uses of online video where people are spending their time on the consumption side, still instructional doesn't make it to the Top 10 but we're moving up in the ranks. If you look in the economy, I read this morning the number of new unemployment applications file last month were the most in 26 years, 2 millions people have lost their jobs this year. So people are looking ways to moonlight, make money from their expertise as well as do things themselves to save money. we've increased our traffic in the last couple of months and I think it's from the economy. It's just a natural direct result.

LK: Congratulations on your partnership with Glam and also with Diet.com. Can you talk about Grapr's syndication model?

TP: Our strategy has always been about syndication. I think it's difficult to build a big destination site and I'm not sure that the future of the Internet. everything is more about componentization, widgetization and so we've always sought to help content creators develop high impact videos and package those videos so that they're more easily discoverable through search engines and distribute them across the tens of thousands of sites who have text only and are looking for video by either lack the content or the technical infrastructure. So from day one we've always been about syndication.

The nice thing about instructional video is that learning pertains to all of what we do in life and it's very relevant to any type of site whether it's a community site in how people come together an learn or a retail site in merchants teaching their customers about products, how to use products, hot to fix products to sell more products, so it's very relevant. We've targeted lists in each content category of 1000s of web sites who have community, who have very targeted audiences where there's a lot of customer participation and interactivity and we approach them to offer them instructional high quality videos.

After I launched the company I spent about six months talking to producers trying to understand what they were doing with their businesses. And out of that work came four unmet needs that I heard. One of them was, "Help me build a brand online." So we have a lot of people who have brick and mortar businesses or side jobs or hobbies of passion but they don't know how to build a brand online. The second one was they said, "Help me stay connected to my audience." Because if they upload their video to YouTube or any other site they completely become disconnected from their content and don't even know who's watching their content and they can't build a relationship with their viewers. The third thing they said was, "Take me into deep rich vertical audiences where people are gathered talking about something I know something about so we can have meaningful rich discussions." And the last one was, "Help me monetize my content." So Grapsr's entire platform which we launched in July 2008 was built to satisfy those four unmet needs.

LK: How did you launch Graspr?

TP: We launched our beta product at Demo Fall 2007 and that's where I said I went out and talked to producers. We kind of stayed quiet and we didn't do a single press release for probably seven or eight months. That's when I spent the time holding bi-weekly and monthly conference calls with all these producers and kind of mini-focus groups to develop our syndication platform and our content creation tools.

We also are a big SEO shop. We've invested a lot in creating meta data within and around the video. That allows us to make our videos more searchable. We add the meta data as scenes so learners or viewers can jump to the part of the video that interests them without having to watch it in a linear way.

So we launched, then went quiet and relaunched our syndication platform and whole package in July 2008.

LK: Graspr uses an algorithm and human search to find videos. Is that how you initially launched and reached out to the producers?

TP: Yes we did, we built what we call a feed manager application that listens for RSS feeds and we also have crawlers that find instructional video and in the beginning we just aggregated and then reached out in parallel and after that fact. Now that we've gotten the word out and are a lot more popular through word of mouth we're only accepting 30-40% of the videos that we get. So all of our producers are actually registered members now before we have seen their videos. That's how we seeded the service with content.

LK: Had you been developing gCard for sometime?

TP: We're actually working on the commerce. I showed the commerce component today in a demo to some people. We filed a patent on it earlier this year. We have been thinking about and working on it. There's a lot of stuff we've already done that's not available yet. As you can see the gCard™ really went to the heard of help me stay connected to my audience where ever my video is embedded across the Internet and let them reach out to me directly as well as let me show what else I've been doing, give me credit for my work. Then finally it's about the viral distribution of it and ultimately commerce.

LK: And it allows for the hyper-syndication especially though Glam Media's network. So in terms of distributing on Glam, will we see the gCard™?

TP: In the beginning you won't see the gCard™ on Glam because it doesn't fit their model but we're in discussions with then about applying the gCard™ on a broader scale beyond Graspr content. In fact we're in discussions with some other video sites that interested in licensing the gCard™ for their own videos that are outside the instructional genre. So I just think it has universal appeal for producers and the hosted providers to help monetize some of the video. While you won't see it today I hope to work the gCard™ into our partnership with Glam.

LK: What differentiates Graspr from the competition? What's your value proposition for the producers, for the distribution networks, advertisers and viewers?

TP: Our direct competitors are the How-to video sites (Howcast, 5min, eHow, WonderHowTo, ExpertVillage, Videojug) and there's a number of different dimensions that we differentiate Graspr. One of them is how we source content. Whether you produce content in house or source it through your users. Videojug, Howcast and Expert Village to a large degree produce their content in house. You're familiar with that model, while you have high quality content and you can templatize there's still the vertical increase in acquisition costs when you're talking about production fees. They have two challenges that we don't have. One of them is operational costs in terms of production costs and scalability and the second one is, what I call perspective or context. So because they content production costs they can't have 25 videos on how to write a resume but I can. They check a box and move on. The nice thing about learning is that we learn from other people and we learn from people we whom we can relate to. Whether it's socially or demographically, or something we have in common, or the teaching style. What we find is that learners appreciate that we have a broad mix of teachers and experts and they can always find someone they can relate to and better learn from. So that's how we differentiate ourselves from the competition.

5min also sources content from its users but the big differentiators there is that we filter our content. Like I said, we accept 30-40% of content and it's appropriate for all audiences of all ages. Regarding SEO and SEM, if you look at some of the analytic sites and look at the top key words that are driving traffic to some of those sites, you won't find those keywords on Grapsr.

That's from a content perspective, but even further we are different from our syndication strategy and our commerce model and really our relationship with these experts. So none of these sites have real people behind them, these are just content repositories and they different strategies in terms of distribution. I love markets where there's competition because it validates the space and we've got a lot of great competitors who are doing great things and we're all trying to help make this market bigger. We believe that the end game is about helping monetize knowledge-based services.

So for me, this isn't just about how-to content which is most of our competitors have only How-to content. If you look at the big vision of Graspr and take a step back and look at what's going on in the world in that 79% of the U.S. GDP is fueled by services and 62% worldwide and half of all workers are "Knowledge workers", meaning people get hired for what they know as opposed of their ability to perform manual labor and we all know these guys. Whether they are our teacher, our kids piano instructor, golf instructor, veterinarian, we all know them. Now imagine if these knowledge workers everywhere could extend their services beyond their local neighborhoods to the world and with Graspr they can do that.

The other piece is that it's about the products backing up the services. My first goal is to unleash experiential knowledge and we chose video as the medium for its high impact value. The impact of the medium is amazing in terms of motion, emotion and connectedness and learning. And so the first goal is to give people the tools and education to help them tell their story, to help unleash this experiential know-how and help them package it in a form that can be easily consumed.

The second thing really is to build a product business around it because these experts have developed affinity toward branded products. So if you listen to our videos we did this random sample and about 60% or so of our videos the producers were recommending products and brands within the video. For example, one of our producers Mark Donovan says, "When you're doing drywall use Sherman Williams paint. It goes on easy, it doesn't fade, etc..." So when the learner is learning how to hang drywall they don't hear just how to do it they also hear, "Go buy Sherman Williams paint."

LK: So the product placement is baked right into the video.

TP: Totally, it's part of the message. It's the whole nirvana of broadcast video which is product placement. Tie those brands as close as you can to the plot of the story and products are at he heart and soul of learning and doing. So what we're doing in terms of algorithm from a product perspective is we're deciphering and we're going to be mapping these products to what these producers are recommending within their videos and creating a commerce model around it.

LK: How do you see this new syndication through Glam? How did it start, where do you see it going and how will it benefit your producers and the Grapsr community?

TP: Glam has a TV section, video section and they primarily source professional content. They don't accept UGC, they like branded content. And what they liked about Grapsr is that it really enables them to obtain what I call "indie artists" so it's high quality content from people who are trying to create a business and care about the quality of their video and message, without having to accept user generated content. So with our kind of producers it was just a nice fit. It was something that Glam did not have. They did not access to these real people. Because if you think about it their publisher network is mostly long tail content, small mom and pop businesses, and so they don't want content that's overcooked or with mass appeal and they having the content from real people. So that's what we bring to the table; real people, real stories without the compromise in quality.

LK: It seems like a good fit in that helps them extend their existing brands into the video space.

TP: Absolutely, and it's content that they can still think about advertising against. There are different types of syndication and distribution deals and levels. Sometimes you do deals for brand awareness and reach other times you do deals for longer term strategic relationships or even for monetization. This for us is about reach and brand. Glam is redistributing our videos and our producers have the opportunity to get in front of their extended global network in these communities that have really targeted audiences where there's a lot of conversation and discussion going on which his exactly what are producers are trying to do.

Graspr/Glam Press Release:

GRASPR GOES GLAM
Instructional Video Leader Joins as Content Provider For Glam TV , Will Provide 700+ Sites in the Glam Media Publisher Network

MOUNTAIN VIEW, CA December 11, 2008 – Today, Graspr (www.graspr.com), the world’s leading instructional video site, announced that it has been selected as a video provider for Glam Media’s GlamTV/BrashTV platform. The GlamTV/BrashTV platform is an innovative video application that allows for the distribution of premium content across Glam Media’s network of 700+ sites with a reach of over 98 million uniques globally.

Graspr videos will now be available to publishers in the Glam Media Publisher Network, pairing high-quality video content for visitors with relevant monetization opportunities for advertisers. Graspr’s content is complementary to that of the Glam Media Publisher Network, with its channels including style, living, family, health and wellness. Graspr’s video content about consumer electronics, sports and recreation, cars, computers and Internet will be featured on BrashTV, part of Glam Media’s newly launched Brash.com, a vertical content network targeting men.

This partnership allows Glam Media publishers access to an increased quantity of quality video content across its network and provides new compelling content opportunities for brand advertisers. For Graspr, the partnership is further proof of its syndication model which provides video creators and producers with additional opportunities to increase the distribution of their content and to monetize it.

“Glam Media publishers are focused on providing the highest-quality content relevant to their readers’ interests and passions,” said Christina Cece, Senior Product Manager for GlamTV “Graspr gives our publishers access to videos that will further engage their audience on an instructional level.”

“This partnership with Glam Media opens the door to exciting new distribution opportunities for our producers who can take advantage of the additional reach. At the same time they can attract premium advertisers for their high-quality video content,” said Teresa Phillips, founder and CEO of Graspr.

About Graspr
With over 25,000 high-quality videos from producers and experts across major lifestyle markets, Graspr is the world’s leading instructional video network. Graspr is the only site where learners, users, and creators of videos can edit, watch, collaborate on, and syndicate to make money from instructional videos.

Graspr is a privately-held company based in Mountain View, California and can be found at: www.graspr.com. Graspr was launched in September 2007 by Teresa Phillips, a former executive at both Yahoo and Time Warner. Teresa founded Graspr to enable people to discover the answers they seek from either experts or from those who have shared a similar experience. Through the broad reach of the Internet, and more specifically the power of video, people all over the world are able to share their wealth of knowledge more freely through Graspr.

Media Inquiries
Dominic Johnson, Consort Partners
dominic@consortpartners.com

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Sunday, January 25, 2009

Watch the Watchmen Get Social Through Transmedia Storytelling

Watchmen is considered one of the greatest comic book stories of all-time. Published as a 12-part maxi-series by DC Comics in 1986 and 1987 it's still hailed as a masterpiece of sequential storytelling. Now finally after years of attempts to adapt the series into a feature film comic geeks prayers have been answered as it makes its big screen debut on March 3, 2009.

Writer Alan Moore, artist Dave Gibbons and colorist John Higgins created a world layered with the grime of deceit and dirty little secrets of the tortured lives of has-been superheroes. In a George Orwellian landscape the story unfolds as a murder mystery and delves into the gray areas of what made these characters choose the lives they've led, what brought them together and what broke them apart.

Now, with the upcoming Watchmen movie release, elements of transmedia storytelling has surfaced this past week in the form of THE NEW FRONTIERSMAN, a new web site with chronological blog entries featuring photographic evidence, documents, and videos presented as breaking news. Each blog entry uncovers evidence of the the existence of the governmental program that created the super-powered being known as Manhattan as seen in the this video below.



1Tim Street asked, "Does Hollywood Get Social Media? Have you seen any Social Media Marketing campaigns from Hollywood studios that you think were successes?" Tim shared the video above in his post which inspired me to write this post because I think these Hollywood producers and marketers do get it. As part of a viral marketing campaign to promote the movie, The New Frontiersman is getting social on Twitter, Friendfeed, YouTube, Flickr and Digg and has created the Watchmen widget below to share on Watchmen fan sites.



As with each of the social networks The New Frontiersman is sharing updates on each of these networks allowing for comments and conversation. While this online marketing effort is not at a level of LG15 Universe, which incorporates social media audience participation into the storyline, it's still an interesting application of transmedia storytelling by using our current social media networks to extend the narrative across mediums.

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Updated: 1/26/09

Wednesday, January 14, 2009

Beet. TV Follow Up Interview with Paul Kontonis on Branded Entertainment and Product Placement

Beet.TV posted this follow up interview with Paul Kontonis, CEO of the online media studio For Your Imagination to discuss the business of branded entertainment and product placement. A few months ago FYI secured funding from OmniReliant Holdings, Inc., a holding company that has a portfolio of companies that utilizes direct response to build brands.

In the press release that announced OmniReliant's equity stake in FYI, Paul W. Morrison, CEO of OmniReliant said, "For Your Imagination has shown the way for online branded entertainment that not only entertains and engages an audience but also delivers a powerful marketing message. We recognize that brands can use the internet for more than just advertising with publishers – brands can now become the publisher and truly engage their customers and For Your Imagination knows how to do it successfully."

Here is part two Kelsey Blodget's interview with Paul, "Day With the Hiltons" Series Has a "Secret": Product Placement", of the two part interview.



"It's definitely a very powerful model for it; [but] it's hard to buy. It's hard to quantify the value of a product placement," he says in the segment. "I think there will be big dollars when they do happen, and they will represent a real great growth in the dollars in this industry," Paul says.

According to Beet.TV Associate Producer Kelsey Blodget, "Branded entertainment done right seems like a win-win--a profitable model for the publishers, and fun and un-obnoxious entertainment for the viewers. FYI produced a branded mini-series called "Day with the Hiltons" earlier this year for the launch of Kathy Hilton's new fragrance, My Secret. The series got distributed over the TV Guide network, received five million views in the first six weeks, and spurred a considerable jump in sales of My Secret at Macy's."

For more on branded entertainment and direct response, see my related post from this blog: Conversation with Paul Kontonis, CEO of For Your Imagination on The Power of Branded Entertainment and OmniReliant Holdings' Equity Stake

Sunday, December 14, 2008

Daisy Whitney's New Media Minute: Personalized Recommendations Coming to Online Video?

In this episode of New Media Minute Daisy Whitney asks what if online video sites knew more about your viewing preferences and could serve up personalized viewing recommendations to you like Amazon, Netflix or iTunes? According to James McQuivey of Forester Research this could be the future of the online video viewing experience. Daisy says, "It might not be that far off, because the future of online programming could get a lot more personalized as video sites develop the brains to predict and serve up shows tailored for an individual viewer’s tastes..."

Viral Video Genious Nalts had this to say, "

Nalts also added, "In this episode (embedded below), you’ll see a snippet of YouTube filmmaker Chuck Potter, whose “I Want My Three Minutes Back” should be mandatory viewing for aspiring video creators. It takes the journey into the transformation of several YouTube creators like myself."




As online video viewing continues to grow more and more online video publishers, video distribution sites and advertisers will look for new ways like personalization to reach a broader audience and increase their views. James McQuivey points out broadcast TV and cable networks already do this through programming. He says, "They don’t just deliver video, they “program,” meaning they select the content to fit the audience, and they arrange it in just the right order to satisfy. Programming also happens to be what online video sites need next."

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Tuesday, October 28, 2008

Conversation with Paul Kontonis, CEO of For Your Imagination on The Power of Branded Entertainment and OmniReliant Holdings' Equity Stake

I recently spoke with Paul Kontonis CEO and Co-Founder of the New York-based online media studio For Your Imagination about the funding they secured from OmniReliant Holdings, Inc. in a bridge capital round two weeks ago. The amount of the funding was undisclosed but it gives OmniReliant an equity stake in FYI and helps fund ongoing operations. In the FYI press release Paul W. Morrison, CEO of OmniReliant said, "For Your Imagination has shown the way for online branded entertainment that not only entertains and engages an audience but also delivers a powerful marketing message. We recognize that brands can use the internet for more than just advertising with publishers – brands can now become the publisher and truly engage their customers and For Your Imagination knows how to do it successfully."

FYI produces The Green House, DadLabs, Break a Leg and many other web shows. Last month Paul spoke on my panel session at Streaming Media West on Updating and Syndicating Your Channels for New Media Distribution and he will be at Digital Hollywood on October 28th.


Larry Kless: How about your big announcement with OmniReliant? Had you been working with them for a while? How did the initial relationship get started?

Paul Kontonis: It was a long time coming but it felt very good to say we came in to a little bit of money. We met OmniReliant through a potential client that we were pitching at the time. Somebody who was on their Board knew the guys at OmniReliant really well and made an introduction and then we took it from there.

We worked with them on a web series together called, A Day with the Hiltons, one of the products that they license and they own is a fragrance called "My Secret" which is Kathy Hilton's fragrance. They had come to us and said, "Hey look we're going to be doing this PR event with a mother and daughter who won this competition in Cleveland to come over to LA to celebrate Mother's Day with Kathy Paris and Nicky Hilton. What would you guys do with that?"

This was a month before Mothers' Day and we developed the concept of A Day With the Hiltons and we went out to LA and shot the while day and released it as a 5-part mini-series. It involved meeting the contestants and meeting Kathy Hilton and going to brunch and getting their hair and nails done at a beautiful salon in Beverly Hills and going shopping on Rodeo drive, and probably the most exciting part about it is the shopping on Rodeo Drive in which the paparazzi are just absolutely insane, and they're like vampires outside a church because you can't go on private property so that when they would duck into a store they would all stay out front and try to shoot through the windows but the minute they went outside they got inundated.



The goal of the web series was to move product. It was to create awareness for Kathy Hilton's fragrance that was being sold at Macy's and they saw a really nice increase in sales, I don't remember exactly how much, but it went up enough that they said WOW, here's a great company that could some really wonderful stuff for us and this idea of branded entertainment is really powerful. So they made the commitment to invest into us.

The series was actually on the TMZ blog, they blogged about it, there was something going on Rodeo Drive with Kathy and her daughters and it showed up in People magazine and not Entertainment tonight, but one of those other kind of celebrity shows, plus we did a distribution deal with TV Guide broadband so it showed up on TV Guide celebrity show and across the TV Guide network.

LK: So what does it mean that OmniReliant gets an equity interested in FYI? Do they have a financial stake now in the company?

PK: Yes, they own a percentage of the equity of the company, like owning shares. So it's not convertible debt. The structure of the investment was not debt it was equity.

LK: What is your goal with this funding? Do you have immediate investment plans?

PK: It's actually the non-sexy working capital answer. Every other month we're in and out of profitability so we wanted to make sure that we had enough money in the bank to insure smooth functioning of the company and also support to new hires.

We just brought on a new VP of Brand and Sponsored Entertainment and we're about to bring on a new distribution person.

(Editors note: See related post, Branded and Sponsored Programming Hits the Big Time - For Your Imagination - For Your Imagination - develops and markets high-quality original web video "As online video programming continues to develop and the pathways to monetization become more evident, branded and sponsored videos are taking center stage. For this reason, For Your Imagination is proud to announce that Kathryn Velvel Jones has joined the team as the Vice President of Branded and Sponsored Entertainment Kathryn will be responsible for matching brands with For Your Imagination's strong line-up of targeted and advertiser friendly content and for developing original branded entertainment that meets messaging and reach needs..." (more)


LK: What do you say to the fact that you've been able to secure funding in the current financial crisis?

PK: Well I think the securing funding thing is kind of significant given the environment but kind of not significant since we started way before the financial problems hit the markets. So it really only needed to close which it did before all the financial hits. I don't know if things would have gone different if it took longer but I'd like to think it wouldn't. A lot of things are still business as usual and there's a lot of business conducted and to be conducted . Everyones knee jerk reaction is "Oh my God things are gong to be terrible now", but it's not really the case. We're seeing some clients pulling budgets and holding off until 2009 but we're also seeing a lot of things moving forward that were already pre-planned. Maybe people are a little more gun shy with the off-the-cuff expenditures but for the planned expenditures for the most part they're still going to move forward.

It helps to have a business plan.

LK: So what's new and sexy with FYI?

PK: I think there's a significance here with Omni getting more involved in a company like ours because they are a direct response company. They are looking at how do you move product off the shelves directly to consumers. They're not a company that sells to stores. So rather directly online or directly over the phone that's what they do. So they're seeing a big opportunity with online video as a mechanism for direct response. Now we've heard a lot about it being a great brand medium and to create brand awareness and that's all great but we haven't heard many case studies about it really coming into play in the direct response arena. So I think this is going to be interesting.

A couple of things are going to cross paths now:
A) Direct response
B) Infomercials and
C) The idea of branded entertainment

So that is more brand building all with the intent of driving sales. They (OmniReliant) have legends in their company of the Harrington Brothers and the Harringtons are probably the biggest names in the infomercial space. If there was a major infomercial series or an infomercial that you remember, Billy Mays, Anthony Sullivan, all those guys were part of the Harringtons. So the Harringtons are part of OmniReliant and are driving OmniReliant's business so for them to look at, they've been innovators in the infomercial space, for them to specifically look at a company like ours and say WOW, this is where we need to start going in and start investing in that space, I think is very interesting. There's no proof points for it yet but everyone recognizes that there could be an incredible opportunity for video to be a direct response vehicle just like everyone thought banner ads, direct emails and online campaigns could be.

LK: How long do you think it will be before you see some results? For that "Wow" to hit?

PK: I don't know. We did one series so far and it seemed to be pretty good. We're probably going to begin production on a new series or at least a couple of videos for one of their products and we'll see how that goes. I think it will be interesting to see it evolve especially when there's a downturn in the economy everyone wants to invest in direct response type of vehicle so if web video can be also seen as a direct response tactic then that is really going to insure that it retains a lot of the money in this downturn.

LK: How will these OmniReliant video be different from your current FYI web series?

PK: We're looking at these from the idea of brand entertainment which is original. So it would be something specifically created for them vs. sponsored entertainment where a brand comes in and says, "I love your network DadLabs I'm going to sponsor it and get my brand out through that." This idea is make us something completely brand new like we did with the Hiltons and then what we bring to the table that a production company can't, because were not a production company is the idea of distribution and insuring that people actually see the videos.

So when we did the Hiltons deal we knew we had a goal of at least 2 million views on those videos and we got about 4 million on them in the end. Whatever series we do next we're going to have goals on the viewership of those videos as well. So part of what we contribute to it is, yeah we can develop an idea, we can write it, we can shoot it we can make it look beautiful but then we can insure that it gets out and is seen by however many people or it gets as many views as we think will meet the needs of the campaign. So we're talking millions of views which is usually the goal so that's an important piece there. Anyone can make a really nice video but not everybody can make sure that it's viewed.

LK: That must make you feel pretty good?
PK: Sure! (laughs)

LK: With the Hiltons campaign, where did all those views take place? On their own web site? Various distribution networks?

PK: Mostly it happened on the distribution networks. There was also views on her web site Kathy Hilton Fragrance. On ForYourImagination.com there is a button that will take you to the series on her web site.

LK: What else is happening with FYI? Through the end of the year? Plans ahead?

PK: The next phase for us is trying to close a Series A round of investment so we can really expand the type of product that we put there but also our sales and marketing efforts. Specifically our sales efforts, that's going to be really critical because with the ability to ensure that we have inventory to sell. It's just a function of our sales. What I mean by that is if we can sell up to 20 million views on DadLabs a month then it's just a function of our sales on how much money we make. If we sell all 20 million great, if we only sell a million okay, if we only sell 100,000 that sucks. So we really need to be able to expand our sales capabilities to make sure we've got dedicated sales people per network or per channel of content that we're putting out there to close the bigger and better deals.

LK: What are your key metrics? What are you looking at each month?

PK: Because of our ability to leverage our distribution and to ramp up our views when we need to it's almost more interesting to say what is our capacity for viewership, that's how we measure it. So we know that for our comedy side of things our network Axis of Comedy our capacity is 60 million views in a month, on DadLabs we're looking at 15 millions view a month and on our Green network GreenHouse our capacity is 20 million views so we're looking at really big opportunities in each of our networks that is just a function of sales on how much money we make from them. So that's how we look at it, what is our capacity? and these are guaranteed views so if somebody came along and said,"I want to sponsor Axis of Comedy and in the month I want get 60 million views" we can deliver 60 million views.

LK: Do you take any time off?

PK: Between Christmas and New Years. That's the only time we're off. But if we're putting out content, content doesn't take a day off. So if it's a holiday on a Monday we still have to put content out and that means working over the weekend to make sure it's distributed and it hits. Our people work all the time.


About For Your Imagination:
New York City based For Your Imagination develops and markets high-quality Internet television and web video series, turning concept into reality for brands and content creators. The company works with creative individuals to develop their show, offering them the opportunity to reach a targeted, advertiser-friendly audience effectively and monetizing quickly. For Your Imagination is built upon the experience of industry veterans whose combined expertise includes web development, major television and movie production, national marketing campaigns and technology. Video networks and shows available now include DadLabs, The Green House, Axis of Comedy and more -- see for yourself, visit www.foryourimagination.com.

About Paul Kontonis:
Paul is the Chief Executive and a co-founder of For Your Imagination. As an interactive media veteran, Paul has been a new media pioneer and has developed interactive content practices which reach out and engage an audience. He appears in a number of marketing publications, digital media books including the Documentary Filmmakers Handbook, and is a speaker at several industry conferences and seminars annually. Read Paul's full profile here and his Linkedin profile here.

Related:

Wednesday, October 15, 2008

Online Video Publishing and Marketing Strategies: Streaming Media West Q&A with Christina Cece, Glam Media

In preparation for moderating the Streaming Media West panel session, Online Video Publishing and Marketing Strategies, I spoke with Christina Cece, Sr. Product Manager, Glam Media to discuss Glam Media's content distribution, publishing and marketing strategies. Christina was one of the speakers who participated in the panel discussion and the video is available here.

The following is a Q&A session with Christina conducted prior to the conference. My thanks to her for taking the time to share this information.

Christina Cece, Sr. Product Manager, Glam Media
Christina manages all Glam Media Products. She manages Glam.com, Glam’s owned and operated properties, Glam’s publisher products and internal tools and our flagship video product – GlamTV.

She held senior positions at IBM, MarkLogic Corp (Sequoia-funded xml content server company), Deloitte, and a year as a senior engineer at CafePress. She has a degree in Econ and Computer Science from Duke University.


About Glam Media:
Glam Media has built a vertical content network made up of over 650 sites, reaching 75 million unique women worldwide (comscore). Most of our sites are mid- and long-tail content sites: high quality niche content producers. By bringing these sites together we’ve harnessed a highly-engaged and highly-targetable audience. Glam Media leverages the increasing fragmentation of the Internet —bringing together owned-and-operated websites, including flagship Glam.com, with the Glam Publisher Network of more than 600 popular lifestyle websites and blogs and syndicated content from leading media companies. Glam Media’s distributed media network model effectively bridges hundreds of unique digital “voices” representing the best content in each category relevant to women, and offers advertisers truly unprecedented quality reach through a single brand advertising platform: Glam Evolution.

LK: What drives publishing and marketing strategies? (big idea or fill the niche?)

CC: Our business model of distributed content drives our publishing and video strategies. For Glam TV, Glam Media has negotiated content deals with premier video producers such as E! Entertainment, Sony Music, TVGuide, CelebTV, VidCat, SomaGirls, and Chic.TV. The GlamTV platform gives our network of 650 publishers access to this exclusive and relevant video content. Our publishers can also use the platform to publish and distribute their own professionally produced videos.

Glam monetizes all of this video content so that our content partners, publishers, and Glam all earn revenue. All of our video publishing and marketing efforts are aimed at building and fostering this ecosystem.

LK: Define distribution vs. syndication.

CC: GlamTV is primarily concerned with distribution of content for video publishers- we don’t produce our own video content.

LK: Who are your customers? (viewers, producers, advertisers?)

CC: Our GlamTV customers are our publishers, end users, content partners, and advertisers.

The GlamTV platform gives our publishers access to premium video content by virtue of the Glam brand, size, and reach. This content is highly relevant to publisher end users; as such, GlamTV videos drive user engagement (and thus pageviews and revenue) on publisher sites.

We are able to offer content partners a rights-managed, quality-branded platform on which to syndicate and distribute their videos. The GlamTV platform enables monetization of our distributed video content, which earns revenue for our content partners.

The platform offers brand advertisers an effective, one-stop partner for delivering video brand advertising on the Web to a highly targeted network of sites.

LK: How do you get started? in online video publishing?

CC: The first step is to create a well defined audience. You then have the information needed to aggregate and deliver compelling video content.

The next step is to build a platform that is flexible (player and ad-delivery agnostic) with robust API access. Many videos have a short shelf life, so it is important that videos are delivered in a timely manner. Finally, it’s critical that your platform supports rich video metadata, such as keywords, description, and related topics.

Video publishing is interesting from an aggregation and distribution perspective because partners who may see you as competition from an article content perspective often see you as a valuable distribution partner for video.

LK: How do you find your niche and establish brand? Build audience? Build ecosystem?

CC: Glam has an established brand in the marketplace and proven track record with our advertisers. We were fortunate enough to begin our video efforts with strong brand recognition and loyal audience.

LK: What's the key to producing and programming compelling content? (original series, uploads, UGC)

CC: For Glam, compelling content is content that is professionally produced, highly relevant to our audience, and timely.

Examples of some of our most successful content are exclusive, professionally produced videos covering events such as Fashion Week, and various entertainment awards shows. Glam is able to distribute this content within 24 hours of the event.

LK: How important is advertising?

CC: Advertising is cornerstone to our video strategy. The GlamTV ecosystem is powered by the ability to deliver highly targeted brand advertising to users. This targeting is accomplished by Glam Evolution.

LK: How do you create sustainable model for monetizing content?

CC: Create an ecosystem where everyone benefits and where advertisers see results. It is paramount that monetization clearly demonstrates value, engagement, and brand recognition to advertisers.

LK: What works? What doesn't?

CC: The GlamTV platform was launched about 3 months ago; as such, we are still in the discovery phase.

We are in the midst of building several new players and new ways for publishers to integrate video on their sites. What works for some publishers, won’t work for others, so fast development cycles and flexible platform are key.

A critical aspect of integrating video with web content is the quality of metadata that you are able to collect and use. This is important for suggesting related videos, and for integrating video with related article content.

LK: What are your key metrics?

CC: Displays, plays, 100% play-through, hours played, unique users

LK: What about the multi-screen strategy? (TV, web, mobile)

CC: For now Glam Media is focused on video distribution on the web. We do distribute some of the syndicated TV content.

LK: What about other social media tool integration? (video comments, Twitter updates)

CC: The GlamTV platform enables users to rate and sort our video content by the following metrics: Most popular, Most viewed, Editorially featured, sharing.

GlamTV is actually part of the Glam Developer platform, which will be released this fall. The developer platform will enable 3rd party developers to build applications that feature Glam content, including video.

LK: What do you see in the short and long term for online video publishing and marketing strategies?

CC: Publishing strategies that will win are those where all parties’ incentives are strategically aligned and everyone wins.


The Power of Distributed Media Model

Relevant Glam Media press releases:
Recent news:

Glam Media contact information: (650)-244-4000 info@Glam.com


UPDATE (10/16/08): Slight copy edits

Sunday, April 20, 2008

Robin Good on How To Make Better News

Robin Good published a new online content strategy on how to make better and more useful news so that you don't just echo the same story. He says, "already 25 guys (are) doing that same job please wake up and realize that that's not very useful."

I share his advise here because, as someone like myself who does a share of news reporting within the online video niche, it's a style of content publishing that I try to subscribe to with this blog. He offers this suggestion, "So one way you can stay on top of your wave, is start ahead of the game to focus only on the news that are very relevant to your niche rather than just bringing up news about technology or about marketing which we have zillions of websites out there doing this."

You can view his video below or go to the go here to view the transcript.



A special thanks Robin for sharing this online content publishing strategy. Check out Robin Good's Master New Media: Professional Online Publishing: New Media Trends, Com

Grazie Robin, per dare questa strategia della pubblicazione in linea! Ciao!

- Video posted by Robin Good on Friday, April 18 2008, as Online Content Strategy: How To Do Better News When Everyone Else Does News Too - Video for Master New Media