Showing posts with label entertainment. Show all posts
Showing posts with label entertainment. Show all posts

Monday, November 7, 2011

blinkx Powers Video Search and Discovery with Targeted Ads, Acquisitions and New Video Channels

Earlier this year at OTTcon, I caught up with Suranga Chandratillake, CEO and Founder of blinkx, which describes as "the world's largest and most advanced video search engine." Chandratillake founded blinkx in 2004 and has helped pioneer video search on the Internet. Unlike other search engines that focus on text web, titles and metadata, blinkx uses a unique combination of patented conceptual search, speech recognition and visual analysis to find and qualify online video. The company has an index of over 35 million hours of searchable video and more than 720 media partnerships, including national broadcasters, commercial media giants, and private video libraries.



Chandratillake says blinkx has positioned itself as a premier destination for online video.
"When you come to blinkx.com, and search for any topic you're interested in right now, we can find videos for you that match that topic, that are highly relevant to that topic of interest and we bring those back to you. So you can click on them and watch them, and that's our core business. But we also power video search behind the scenes for other people too." 
In particular, if you go to Ask.com, blinkx powers the video search experience for that site, which in turn helps power blinkx's ad business with its tens of millions of unique views each month that it sells advertising against.
"One of the really nice things about the advertising is that we use our search technology to try and target the ads. So if you're watching a video about a particular topic, you will likely see ads that are highly relevant to that video."
From a user perspective, Chandratillake says, that's great because you're not getting irrelevant ads that waste your time.
"It's also great from an advertiser's perspective because it means you're being able to engage people or consumers who may actually care about your product."
In April of 2011, blinkx acquired online video media company Burst Media for $30 million in stock and cash in a move to integrate its premium video content with Burst’s 150 million monthly uniques 35 billion page views (according to comScore Media Metrix, September 2011). Just last week, Burst Media introduced 12 new Internet video channels premium video from a host of blinkx's direct play partners, including Reuters, Howcast, CelebTV, GeoBeats and TVGuide, offering TV-style programming on a wide range of subjects, from food to fashion, celebrity gossip to gardening, health to How To.

blinkx also also made two strategic partnership announcements last week, that it is powering video for Aurasma, and it is partnering with Orb Networks to bring its vast video catalog to Orb BR and Orb TV Users. Aurasma is the world's first visual browser for smartphones and tablets that recognizes physical objects and delivers related online content - videos, animations, audio or web pages - in real time.

Orb TV is a hockey puck-sized OTT device that plugs into any TV, enables consumers to stream online video, photos and music to a TV. In addition to blinkx content, Orb TV provides consumers with easy access to services such as Netflix, Amazon Video on Demand, Hulu and Comedy Central. Orb BR is a software solution that leverages the power of PS3s and connected Blu-ray players to bring users the same content as Orb TV - without any additional hardware purchase. With the announcement, Orb BR brings blinkx content to the millions of PS3s and connected Blu-ray players in the market.

Chandratillake noted that the the online video and OTT space has come of age after so many years of video on the Internet. What's different, he says, is the momentum at which the idea is gaining. The reason for that is because the reality of that connected television universe is just getting ever close. More and more of us are watching Internet video on our television sets or contemplating the purchase of a set-top box or game system to watch OTT video.
"From a blinkx perspective, we look at the TV as the screen or one of the screens of the future. Today, the vast majority of our business, and most our audience is accessing our system through a computer screen. But in the future, I don't know if it's either two years or five years, I think a lot of people will actually access it straight through a television screen. So we've got be there and offer a very relevant service, but it's very important that we make the right partnerships to make sure our services are available though all these different devices."
Just as OTT video is gaining speed, so is social video, with video discovery and recommendation becoming more relevant than video search, which almost seems antiquated in comparison.
"Search and discovery are two sides of the coin," Chandratillake noted. "So on the one hands they never see each other , or on the other hand they're on the same coin. It's one of these classic cases where things can be so closely inter-related, yet so far apart. But its all down to the nature of what the user or consumer is doing at a given point in time."
Search is more of a lean-in experience, where you're doing investigative work finding specific information in a search engine like Google, Yahoo or Bing. You tend to add, subtract and play around with words to find the right combination to get the best search results. That, of course, is also the case with online video search.

But there are many other cases on television when actually it's about relaxation. It's about leaning back. It's about turning the box on and leaning back on the sofa and having entertainment come to you. Whether that piece of video is recommended to you by a friend or from personalized recommendations like blinkx's system.
"That's where discovery comes in," says Chandratillake,  "discovery is about knowing enough about you, and knowing enough about the content to figure out what you want to watch right now."
About blinkx
blinkx plc (lse aim:BLNX) is the world's largest and most advanced video search engine. Today, blinkx has indexed more than 35 million hours of audio, video, viral and TV content, and made it fully searchable and available on demand. blinkx's founders set out to solve a significant challenge - the growing amount of TV and user-generated content on the Web means keyword-based search technologies only scratch the surface. blinkx's patented search technologies listen to--and even see--video on the Web, helping users enjoy a breadth and accuracy of search results not available elsewhere. In addition, blinkx powers the video search for many of the world's most frequented sites. blinkx is based in San Francisco and London. More information is available at www.blinkx.com.

Friday, March 4, 2011

CBS Acquires Clicker.com, Names Jim Lanzone President of CBS Interactive

Consolidation within the online video space has been a serious trend in 2011, and that fact was evident today with CBS announcing that it has acquired Clicker.com,  the "Internet TV Guide to What's on Online" and hired Jim Lanzone as its new President of CBS Interactive, who will head up CBS Interactive's worldwide operations and roster of Internet properties, including CNET.com, TV.com, CBS.com, CBSSports.com, CBSNews.com and Gamespot.com. Lanzone replaces outgoing President Neil Ashe, who had led CNET Networks which was sold to CBS in June 2008 for $1.8 Billion. Ashe announced in December 2010 that he would be stepping down and leaving the company once it found a successor and it looks like CBS has found the right man for the job with Lanzone and it has big plans for Clicker.

Lanzone was previously CEO of Ask.com, where he and most of his team came from and he founded Clicker in January 2009. The Los Angeles-based company was in stealth mode until it's official launched at NewTeeVee Live in November 2009, as the programming guide for this new era of television. Clicker has roughly 2.5 million monthly visitors and catalogs all broadcast programming online, along with TV-quality Web originals and contains more than 1,000,000 episodes, from over 12,000 shows, from over 2,500 networks, 30,000 movies, and 90,000 music videos from 20,000 artists. Just 3 months after it launched in February 2010 Clicker raised $11 million to build out its revenue model for lead generation. Earlier this year Mashable named Clicker one of eight top tech companies to watch in 2011. Terms of the CBS Clicker deal were not disclosed but Techcrunch noted several sources that put the deal somewhere between $50 to $100 million. Other sources cited the deal only in the tens of millions range.

On the Clicker blog Lanzone wrote:
"It’s been an amazing 2+ years, first in stealth as we built the product that would become Clicker, and then the past 15 months or so after we launched to the public.  Clicker has built a peerless navigation and discovery experience for online programming, from core search to our proprietary recommendation engine to our social integration with Facebook. As we look to the future, CBS has the kind of platform that can take Clicker to the next level as we look to create a lasting, meaningful brand and destination."
CBS President and CEO Leslie Moonves praised Lanzone a leader and innovator:
"Jim is a dynamic, creative executive who knows the interactive space and its key players. In just over a year, Jim has created one of the leading navigation and discovery tools for video programming on the Internet. Clicker's products and proprietary technologies add firepower to our existing portfolio of entertainment properties, and if we can help grow Clicker to its full potential in the years ahead, the strategic value could be tremendous." 
On paidContent.org David Kaplan noted:
"In making the acquisition, CBS Interactive highlighted Clicker’s recommendation engine, Clicker Predict, and its social integration with Facebook, which claims that it offers 2.5 million monthly users an “instantly personalized guide to what’s worth watching online.” Clearly, CBS will hope to leverage that to get some more views for its online video, which still remains outside of rival broadcaster-backed Hulu’s system."
While on ReadwriteWeb Marshall Kirkpatrick called Clicker.com, a Giant Waste of Time and was both supportive and skeptical of Lanzone:

"I'm sure he's a very capable executive and here's the supportive way to articulate the significance of the news: a respected internet leader will now be charged with helping move into a new, unknown and disruptive technology economy a large, century old institution, rich with accumulated history and talent for creating high-production content that speaks to hundreds of millions of people. A less charitable take on the news: A man who helped bring the cultural sedative of mainstream TV to the glorious frontier of the Internet will now be in charge of extending that winning recipe of shimmering vacuousness made web-friendly to a much larger audience."

I spoke with Lanzone last year to hear about how Clicker got started cataloging what's on online, how the website works, what actually is Clicker's revenue model and, his general thoughts on the online video and Internet television space. I've republished my interview with him from Streaming Media East 2010 below.




Also, in related news, earlier this week Rovi acquired Slidereel and launched AllRovi.com, a YouTube-like video and music site now in beta that uses a search and recommendation technology in a similar way as Clicker. Based on their activity on AllRovi.com users can receive customized recommendations, find favorites, review ratings and make new discoveries based on their entertainment preferences. Read more on: Vator.tv - Executive brief: Battle for the online remote.

About CBS Interactive
CBS Interactive is the premier online content network for information and entertainment.  Its brands dive deep into the things people care most about across news, sports, entertainment, technology and business.  Leading properties include CNET, CBS.com, Gamespot.com, CBSSports.com, BNet, CBSNews.com, TV.com and much more.  With hundreds of millions of unique visitors from around the world each month, CBS Interactive is a global top 10 web property and the largest premium content network online.

About Clicker
Clicker is the ultimate guide to Internet television. As massive amounts of programming move online, consumers are entering a world of infinite choices, all on-demand. Great! Finding the show you want to watch? Painful. Thousands of episodes from thousands of shows are housed on thousands of different sites, mixed amongst billions of random videos. Clicker culls all broadcast programming, and TV-quality Web originals, from these silos and delivers them in one seamless, organized experience so you can easily find, save, share and even contribute content for any show or episode online. Check out Clicker on Facebook or Clicker on Twitter.

Related:
Updated 3/5/2011: A few corrections and additional quote by Marshall Kirkpatrick.

Thursday, March 3, 2011

The Future of Television will be an Immersive, Collaborative Experience: Cisco's Scott Puopolo at OTTCON 2011

This week in a keynote address at the OTTCON Over-the-Top TV Conference 2011 in San Jose, Scott Puopolo, Vice President and Global Head of Cisco's Internet Business Solutions Group (IBSG), presented Cisco's predictions on what the future of television might look like in 20 years. Puopolo and his team developed the predictions based on interviews with more than 50 television industry and academic thought leaders who all agreed that almost every aspect of TV will be transformed – from how we interact with the TV; how channels will go away; how the remote control will disappear; how screens will do anything, anywhere and will become the nexus for all our connected, interactive and social video experiences – and move us away from the traditional linear "lean-back" TV viewing experience towards an immersive, collaborative experience in the future that goes beyond the Jetsons cartoon.

Many of the predictions are already evolving today with the explosion of connected devices, 3D viewing experiences, augmented reality, transmedia storytelling, advanced technology of touch screen and gesture driven control of screens that we've seen in futuristic sci-fi thrillers like Minority Report. As an example of what's in store for the future, Cisco says that TV will become a broader and more immersive sensory experience that will go beyond the visual and auditory senses to include the sense of smell and touch. But by far the biggest driver that propels innovation is the growth of online social communities and our need to be connected to them. Social interaction is embedded in many of the predictions of which could likely come to pass in the not-too-distant future.

I caught up with Puopolo following his keynote, where he presented 5 of the 10 predictions from the study, The Future of Television: Sweeping Change at Breakneck Speed, which he said, "offers the first holistic vision of the future across all key dimensions of the television industry and sheds new light on the likelihood and timing of innovation."



On the Cisco blog, Puopolo summarized the 5 predictions he presented to the OTTCON audience:
  • Is It Real or Is It TV? Sensory technology will enable new creative tools for producers and new experiences for consumers. So we’ll not only see Rachael Ray’s brownies -- we’ll smell them, and eventually taste them, too.
  • Screens Do Anything, Anywhere: Instead of buying TV sets per se, viewers will buy multipurpose screens. A screen in a bedroom could display your favorite painting or change into a teleconference monitor when you’re not watching TV.
  • Don’t Just Watch, Get Involved: Viewers will break the confines of the TV episode and interact with their favorite characters in everyday life. They could, for instance, collaborate with other fans to help key characters solve a crime or mystery.
  • Channels Go Away: Soon TV will be customized to your tastes. No more searching through menus to find a show -- the best streaming and on-demand TV will find you.
  • Viewers Kiss the Remote Goodbye: Consumers will use words, gestures, and devices such as smartphones and iPads to control their TVs. You might raise the volume or choose a different show with a simple flick of your wrist.
The 5 others predictions in the study are:
  • Ads Get Personal - you can interact with - In the future the majority of ads will be contextual, highly interactive, and laser-targeted to each viewer.
  • Watch Together, Virtually - TV will be an enabler of social interaction, encouraging group participation at home with remote friends and family. Viewers will experience a sense of community for the duration of the program.
  • Your TV Follows You - Content will be ubiquitous and available to you on any device wherever you are. Consumers will no longer be tethered to a particular device or network, and there will be limited ties to time itself.
  •  “Regular Joes” Go Hollywood - Semiprofessional and amateur film and TV-making will flourish, and decentralized methods to create, fund, and deliver content to the mass market will thrive.
  •  Creation Goes Viral - Content creators will invite consumers directly into the process.
CiscoIBSG produced this video to describe the 10 predictions for the future of television:



While the views among the experts varied on adoption rates of technology most did agreed that pay TV models will evolve and that consumers will have more control of their content experiences. Cisco IBSG believes that the combination of three key drivers—technology, consumer behavior, and business models – will accelerate our vision of the future and bring about enormous changes within the next 5-10 years that will permanently and dramatically alter our television experience.

For the evolving industry of PayTV operators, content producers, consumer electronics manufacturers, media aggregators and service providers, Puopolo said that competition for the consumer will also intensify dramatically.

So, what's the big message in all of this?

Puopolo summed it up in this way:
"The concept of consumer, controlled, increased, immersive, interactive experience is going to be the future of television and the consumption of our content is going to be ubiquitous. We'll be able to access it anywhere, anytime, from any device in any format."
Related:
OTTCON coverage:

Wednesday, December 8, 2010

Online Video Conversations: Steven Horn, Metacafe - Part 2: Metacafe and the Power of Premium Content


In part two of my interview with Steven Horn, vice president of programming for Metacafe, he further expands on our previous conversation about how Metacafe has decided to focus on premium short-from content, and how Metacafe's recent acquisition of action sports site Go211.com helps bolster its unique editorial voice within the online video entertainment genre. According to Horn, Metacafe has taken a different approach than other online video entertainment sites by the way it build packages around its premium content. In particular, as Horn previously noted Metacafe's editors provide "deep content experiences" by programming related premium content around new movie releases. For example, with Ben Affleck's recent bank robbery film, The Town, the editors programmed other classic band robbery films like Heat and Dog Day Afternoon to give context the bank robbery genre and made Ben Affleck the featured celebrity of the week.
"These are the things you can do with editors, versus, just a random collection of videos that people are expected to search and sift through themselves. We cherry pick the best and put them together in these compelling unique content packages."



Within the premium content space, Horn says, the Hollywood movie studios are the ones that have been playing the most online. They were the first on the Internet and have spent a lot of time and effort into their digital strategies. He reiterated that Metecafe's editors have those relationships with the studios and understand the content gives Metacafe the edge over other entertainment sites.

Horn also says that comedy has also been very successful for Metacafe, and that its approach is to put comedy into everyday situations. For instance, when Metacafe go to a film junket film to interview a celebrity – they don't ask the same questions that everyone else asks (because likely they could get those type of interviews from their partners anyway), so they send in comedians to do songs, interviews and create fun and unique ways to create exclusive premium content. For its "Iron Man 2" interview with Scarlett Johansson, Metacafe's Matt Zaller took the opportunity to get some make up tips from the actress firsthand rather than doing a traditional question and answer interview. The video was a success and had a viral effect getting picked up by Huffington Post, Gawker, StumbledUpon and other sites.
"When we think about what's working for us, we're hanging a lot of our strategy on comedy, and not only comedy, but a non-traditional approach to staged events... and the studios are loving it."
Horn is very excited by Metacafe's recent acquisition of Action Sports, Inc. the parent company of Go211.com, the popular site that features live webcasts of and video highlights from top action sports events around the world. Horn says that Go211 has carved out a really strong niche in live events and streaming, and Metacafe will be leveraging the expertise of Go211's digital video production team to introduce more original and exclusive content into its other premium entertainment hubs – MoviesVideo GamesTVMusic and the recent launch of Metacafe Sports, that features Go211’s extensive catalog of action sports videos in Snow, Skate, Surf and Bike. According to comScore Media Metrix, July 2010, Metacafe, with the inclusion of Go211, will now reach nearly 17.5M unique monthly U.S. viewers.
"Anytime you take two mature content organizations and put them together – the amount of creativity that comes out of that from a programming standpoint but also from a technical background scales very fast."   
Regarding the current state of the the online video space, Horn says he's excited to come to work everyday because it reminds him of the early days of the Internet.
"We all know that there's something big here, we all know it, we feel it, we sense it. Everyone is trying amazing new things online. I feel we're way too early to know who's going to end up winning – and actually I don't know if it's a win-lose if not a zero sum. I think there's a lot of different positions that people are taking. Metacafe is taking this premium short-from position, and there's a lot of other players out there. 
In terms of where we go and where we consume this video – I don't even think we know – in 5 years we may have implants in our eyes that show us video or we see it in our refrigerators – the actual, where this content is consumed is a lot less interesting to me than to what that content is. So whether it's on my phone or on my TV or whether it's on my 3-screen, 4-screen, whatever – what it is and who's serving it to me and what they're doing with that content, I think, is where the most excitement is with this industry now. It's a blank slate and we're having a lot of fun."
See part one of this interview: Online Video Conversations: Steven Horn, Metacafe - Part 1: Metacafe's Editorial Voice Drives Consumption of Online Video

Also, see these related interviews:
For more information, go to: http://www.metacafe.com/

Wednesday, November 24, 2010

Online Video Conversations: Steven Horn, Metacafe - Part 1: Metacafe's Editorial Voice Drives Consumption of Online Video

I recently sat down with Steven Horn, vice president of programming for Metacafe, to talk about how he is defining Metacafe’s distinctive editorial voice to drive the consumption of online video, specifically around exclusive, premium short-from content. Horn has more than 15 years in digital media, and lives and breaths entertainment content everyday. He loves to connect audiences with the right content for them. He joined Metacafe earlier this year and was named Vice President of Programming in August 2010. Prior to Metacafe, Horn served as director of programming and content at VUDU. He also previously served as vice president of editorial at Fox Interactive Media, where he led editorial programs for: Rotten Tomatoes, MySpace and IGN.com. In this role, he developed deep connections with Hollywood studios and television production companies which has says helps give Metacafe an edge on acquiring and programming premium content.



According to Horn, his editors make better programmers than machine driven algorithms, because editors know what readers want. That's the big differentiator, he says, between an editor and a search engine or algorithm:
"To us, it comes down to this very simple philosophy... being an editor is a bit of an art form. There's nuance in programming."
Horn believes that there's a certain craft to programming and that Metacafe's approach provides greater value to consumers and to content creators. He and his team all deep ties into Hollywood as writers, editors and programmers. He says their style is a bit of a throwback to the old school newspaper bullpen style. He and his team get together every day, exchange ideas, build packages around entertainment properties, find creative and fun ways to involve advertisers, and create deeply integrated content experiences with the movies, games and other intellectual properties. Editors can also pick up the phone and call a studio for an exclusive that can appear on Metacafe days before other sites, or only on Metacafe. This, Horn says, gives the site emotion and the human element.

Horn challenged his team with Metacafe’s recent Shocktober Showcase initiative to see if the editorial model works, by producing 30 content exclusives – one in movies and one in video games – every day throughout the month of October. Horn says that Metacafe is setting a new standard in online video by bringing an entire month of daily exclusives and originals, but he acknowledges:
"It's been a big challenge, 30 exclusives in 30 days, we just sort of woke up one day and said, 'That is going to be intense,' but we really wanted to push ourselves and prove out this editorial model."
The most recent statistics has proven that this model works.  The Shocktober Showcase exclusives garnered a total of 2 million views as of the last few days of the campaign, which is trending with success shown in the first couple weeks of Shocktober. The top 5 movie exclusives + the top 5 video game exclusives collectively drove nearly 1.5 million views over the course of the month. Active Facebook and Twitter users (fans/followers who participated in the Shocktober content, such as like, share, comment, retweet) increased by nearly 20% month over month.

Horn says that Metacafe has built up trust with the studios to take care of their content and provide the best audience and context.
"What Hollywood cares about and what any premium content creator cares about is what happens to their video. Do they want their video next to an American Idol reject, or a  couple of cute kitties hanging out? Most likely they want their video next to other premium content."
Horn says that the combination of the editors voice and their relationships with studio help create those "deep content experiences."
"We're telling the story with video. We're getting this piece of premium content, we're putting context to it, not only with what we follow with that content, but what we package it, how we get it out to our audience and our own voice bubbles into that content as well."
Horn is also excited by the conversation that is happening within Metacafe's social media networks, on Facebook and Twitter, and how the editorial voice has extended into those channels. Metacafe movies has over 60,000 Facebook fans and the quality of conversation around the content is much richer with having editors engaged in the conversation.

Stay tuned for Part 2 of my Online Video Conversation with Steven Horn about Metacafe's focus on premium and how Metacafe's recent acquisition of Go211.com and how this deal advances Metacafe’s strategic vision delivering value to their audience of 18 to 34-year-old entertainment influencers and for the brand advertisers who market to them.

About Metacafe – Entertainment That Connects
Metacafe® is the first entertainment destination solely dedicated to showcasing the best videos from the world of Movies, Video Games, Sports, Music and TV. We are the trusted source that keeps millions of viewers plugged into their entertainment passions every day, and we connect marquee brand advertisers with their target consumers via close association with the most popular entertainment content on the web.  Metacafe attracts more than 10 million unique monthly U.S. viewers .  The privately held company is headquartered in San Francisco, with offices in New York City, Los Angeles, London and Tel Aviv.  For more information – and millions of entertaining videos – visit www.metacafe.com. Media Contact: Suzi Owens for Metacafe: sowens@blancandotus.com, 415-856-5125

Friday, August 13, 2010

Online Video Conversations: Erick Hachenburg, Metacafe - Part 2: The Growing Opportunity For Online Video Advertising

In part two of my conversation with Erick Hachenburg, CEO of Metacafe®, he talks specifically about the growing opportunity for online video advertising and how companies are using online video for advertising and branded entertainment. For Metcafe, the key to its business model is advertising and as a result, the company recently expanded it advertising sales team to meet the growing demand for its online video advertising offerings. Metcafe has premium content deals with Hulu, Warner and other Hollywood studios, and it has grown its movies-related advertising revenues over the past year by more than 70% year-over-year.

Hachenburg pointed out that in addition to being content partners, movie studios are also marketing partners. Metcafe works with movies studios very early on, sometimes 6 months before the movies release to build an audience, and on the opening weekend Metcafe can deeply integrate the brand into the site. Hachenburg noted that many of the consumer brands are interested in reaching consumers where they have their "passion points" through movies, television, video games, sports and music. This gives both advertisers and consumers more choices to both create and consume compelling branded advertising messages and entertainment.



Research findings from Metcafe's annual sponsored study on online video consumption conducted by Frank N. Magid Associates in May 2010, that found online video advertising is increasingly accepted by consumers. More than 55 percent of the 2,412 online video viewers surveyed found online video ads just as or more acceptable than TV ads, a 3% increase from 2009 and 18-34 year-olds are more likely than older viewers to find online video ads more acceptable than TV ads.

Hachenburg said:
"Clearly the way, that consumer brands have been marketing their products over the past years has been through video, through television primarily, the commercial break. What's happening with online video is, we're seeing for the first time a real movement of the brands from the television space to the online video space."
The first thing, he said, is to take the simple approach and take what you have that you know what works, which is the commercial break and bring that to the online video space.
"We are running pre-rolls and we are running different ways of trying to present that message. The impact, the sight, sounds and motion of commercials is just so powerful. It is almost the only way you can effectively brand advertise."
Beyond the pre- and post-rolls, Metacafe offers a suite of advertising programs to maximize viewer engagement with brands. From more robust programs where brands can take over the home page or site, mashup tools, branded entertainment channels and a variety of other options for product placement. One of the key advantages that Metcafe delivers to advertisers, Hachenburg said, is an audience that is passionate about the content and entertainment properties, and that offers greater value than a broad based site. Often times broad based sites have a much a greater audience, but according to Hachenburg, they are just passerbys just coming and going, and not spending that much time on the site.

Metcafe's audience is primarily the ‘entertainment drivers’ and social connected influencers that drive entertainment decisions for others. They don't snack on content, but dive deep into all the entertainment categories and are an especially valuable audience for advertisers. Metacafe believes that the real value lies not through scale but through depth and focus. While the company was once a YouTube competitor, it has been able to navigate the changing currents of online video industry and focus its business model on premium content, branded entertainment and the growing opportunity for online video advertising.

The online video portion of the Magid Media Futures TM 2010 study was sponsored by Metacafe. A complete summary of the online video portion is available for download at http://magid.com/metacafe.pdf

Tuesday, August 10, 2010

Online Video Conversations: Erick Hachenburg, Metacafe - Part 1: The Launch of Metacafe Movies and the Future of Online Video

This post is part one of a two part conversation I had with Erick Hachenburg, CEO of the online video entertainment site Metacafe®, to discuss the recent launch of Metacafe Movies, how his company has shifted its business model to focus on showcasing premium content from the entertainment industry and how it will change the face of online video entertainment. Metacafe Movies launched this past May, and as Hachenburg explained, it's a channel dedicated solely to showcase videos about and from the movie industry. It's more than just trailers, he said, and includes unique original programming, exclusive behind-the-scenes clips, interviews with the directors and actors, featurettes, restricted red band content and a first-of-its-kind 3D showcase to give viewers the inside scoop of their favorite entertainment genres.



The online video market continues to grow and Metacafe has seen a huge growth in its audience year-over-year. Movie trailers and clips are currently driving nearly 10 million video views per month on Metacafe, and the Metacafe Movies Facebook fan page launched with more than 23,000 fans. In June, Metcafe unveiled the findings of its annual sponsored study on online video consumption conducted by Frank N. Magid Associates, that found a dramatic increase in consumers turning to the Internet for entertainment, with the highest percentage among 18 to 34 year-olds. Metcafe sees this as a ripe opportunity to connect advertisers with the, "Entertainment Drivers," enthusiasts and influencers who drive entertainment decisions, define pop culture and determine breakout hits in the social media world.

Metacafe has assembled an editorial team of movie experts, led by Mark Poggi, formerly of Netflix, and Steven Horn, formerly of Rotten Tomatoes, who just today was named Vice President of Programming responsible for managing Metacafe’s five premium entertainment studios of, MoviesVideo GamesTVSports and Music. Metacafe has taken the approach of investing in premium ‘quality’ content which Hachenburg says is disruptive for the online video industry. In the press release, Metacafe Launches First Online Video Destination Dedicated to Movies, Hachenburg pointed out that:
"Our singular focus is on building the premier movie and entertainment online video site, delivering a great experience for our viewers and valuable marketing results to our advertisers. The launch of Metacafe Movies is an important milestone in this endeavour and one that we will continue to build on in the coming months."
This short marketwire video was included as part of the press release and offers a quick snapshot of Metacafe Movies, with sound bites from Hachenburg, Horn, Poggi and Mike Vorhaus, President of Magid Advisors, a leading research firm.



While Hachenburg acknowledged the stiff competition from YouTube, but he's optimistic that Metacafe's singular focus on professional and premium content about the entertainment industry will continue to attract that coveted 18 to 34 year-old audience.

Hachenburg noted:
"What we're doing is evolving into a focus on a particular channel, just content form the entertainment industry, and we think that's what's going to change the way consumers think about how do get online video. So instead of being something for everybody, it's the best, the deepest, the richest offering for a particular type of content for audiences that are fans of the movie industry."
Hachenburg also said that YouTube has been very clear about where there focus is, and that's being an online video platform, where people can upload whatever content they want and can connect it with friends and fans through many sharing channels. Metacafe sees YouTube as an important platform for the industry and has helped online video become more pervasive. But it's very different from Metacafe's business model as a media entertainment site working with brands to target young entertainment enthusiasts.

As for where we are currently within the online video world and what the future holds, Hachenburg suggested that:
"We're very much in the early stages of the online video industry. If we're doing $1 billion of advertising this year and there's $70 billion in television advertising already being spent every year, you can see how much potential for growth. The same is true with views. For a typical site the whole month worth of views may be only one television show in primetime, but that growth rate is accelerating. We're seeing, two years ago, 50% growth rate in viewership, last year 100% growth of viewership. So that means the exponential curve is well on its way and we're still heading upward. When you're in an industry that has more viewership and is accelerating, more advertising dollars and is accelerating, and more access to content, you can imagine we're in the very early stages of an exciting opportunity."

About Metacafe® – Entertainment That Connects
Metacafe® is the first entertainment destination solely dedicated to showcasing the best videos from the world of Movies, Video Games, Sports, Music and TV. We are the trusted source that keeps millions of viewers plugged into their entertainment passions every day, and we connect marquee brand advertisers with their target consumers via close association with the most popular entertainment content on the web. Metacafe attracts more than 10 million unique monthly U.S. viewers (1). The privately held company is headquartered in San Francisco, with offices in New York City, Los Angeles, London and Tel Aviv. For more information – and millions of entertaining videos – visit www.metacafe.com
(1) comScore Video Metrix, March 2010

Follow Metacafe (Metacafe) and Metacafe Movies (MetacafeMovies) on Twitter
Become a fan Facebook | Metacafe

Thursday, July 22, 2010

Clicker - The Internet TV Guide to What’s On Online

I caught up with Jim Lanzone, founder and CEO of Clicker, the "TV Guide for the web", at Streaming Media East 2010, to talk about how Clicker got started cataloging what's on online, how the website works, what actually is Clicker's revenue model and, what are his general thoughts on the online video and Internet television space. Lanzone was previously CEO of Ask.com, where he and most of his team came from and he founded Clicker in January 2009. The Los Angeles-based was in stealth mode until it's official launched at NewTeeVee Live in November 2009, as the programming guide for this new era of television. Clicker catalogs all broadcast programming online, along with TV-quality Web originals and contains more than 650,000 episodes, from over 10,000 shows, from over 2,000 networks, 30,000 movies, and 80,000 music videos from 20,000 artists.

In an introductory post on the Clicker blog, Lanzone described Clicker as:
"a hybrid of many other kinds of information and entertainment sites: one part directory, one part search engine, one part Wiki, one part entertainment guide, and one part DVR. At the heart of it all is a massive structured database, created by a team of people from search, media, data and content management backgrounds."


Lanzone said that when Clicker began cataloging Internet television, no data existed. So they had to create it by plugging in their technology into every website with premium video, and then pull down and normalize all the data structures (title, description, air date, duration, actors, etc.) and automate it thereafter. Clicker's database is then able to track the videos as they disappear online or when free content moves behind paywalls.

Clicker does not do an unstructured crawl of the web or search through voice recognition, as Lanzone explained:
"It's metadata driven. Where it doesn't exist, we'll create it. So we'll actually construct a feed for a website that puts in our data structure, and that's something we actually give to websites for free just so that we're able to get it and they're able to construct a feed for it. Other sites have feeds already constructed. But we want to keep things organized.
We think to do TV Guide of the web the right way is, it's got to be comprehensive, it's got to cover everything that you'd want to watch on your 10-foot experience big screen TV, it's got to structured and organized in a way your can easily navigate and not just search for, and it has to be unbiased."
Lanzone clarified that unbiased means, that Clicker is not competing with the sites they are sending traffic to, Clicker doesn't host the videos, but they are sending you directly to the destination sites, like NBC.com, to watch the video. Lanzone said Clicker’s revenue model is based on lead generation rather than advertising and that they get paid through the unbiased referrals to paid partner sites.
"We're TV Guide, not TV. We just want to send you to the site to watch it. So we don't have the videos, so we don't have video ads and videos that we don't have."
Clicker recently announced that it now catalogs all live broadcast programming, and has also built "People Pages" that catalogs available videos of more than 75,000 actors, writers, producers and directors. So if you're a Zach GalifianakisTina Fey, or Felicia Day fan, you'll find it easier to see every program they've been in (that’s available to watch online), from starring roles to cameos, as well as related people. Also, at the recent Google I/O conference, Clicker launched Clicker.tv, a HTML5 interface of the website optimized for the "50-inch/10-foot viewing experience".

Lanzone commented on the current state of online video and Internet TV, with an analogy that we're in the brack (or brackish) water period between the old world of cable and the coming world of online television. He noted that there are a lot of in between solutions right now, with many different OTT solutions, boxes along with TV manufacturers, cable companies, online portals all fighting to control your experience and that the future will become more dispersed and more fragmented in terms of content providers, while destination sites, like the ABC.com iPad app will grow stronger as they consolidate the viewing experience and disintermediate (cut out the middleman) the market.

In a recent study, Clicker revealed that what's online doesn't always stay online, and the free broadcast content is only available online for a limited time. With their structured database they were able to track ABC, CBS, FOX, NBC and The CW videos from the 2009-10 broadcast TV season, and found 90% of TV shows became available online, 50% of episodes came online within a day of their original air date, and 60% of episodes went offline within three weeks of their original air date. 

Clicker has raised $21 million in funding since September 2009, from venture capitalists including Benchmark and Redpoint, and in a short time has branded itself as the complete programming guide for Internet television. As the market matures over the next few years, Clicker plans to be a key player in the space.

Update 7/23/2010: Clicker Launches New Social and Mobile Apps
Today, Clicker announced the launch two new brand new social and mobile apps in the form of Clicker Social, which allows you to discover, share, rate, discuss, and check-in to shows on Clicker, Facebook and Twitter and other third party partner sites. A new Clicker Check-in button can be embedded on websites and video players to help spread the word on what (and where) people are watching online. Leading online video platform providers Brightcove, Ooyala and thePlatform along with many technology sites and content partners, including PBS, Koldcast TV, Revision3, The Onion, TechCrunchTV, VatorTV, are integrating the Clicker Check-in button into their video players,  extending the feature to thousands of publishers. Clicker Mobile introduces a brand new mobile experience on the Android and iPhone (coming soon) for users to connect with Clicker anywhere.

In today's press release Jim Lanzone said:
"Since day one our mission has been to help people discover what's available to watch, where to watch it, and what's worth watching in the new world of Internet television. Clicker Social now gives our users the tools to assist each other in the discovery process -- all centered around our uniquely comprehensive, unbiased, and structured guide to online programming -- while Clicker Mobile gives them the ability to connect with Clicker, and each other, from anywhere."
See the related blog posts:
Hello! It’s Clicker, We’re on Your Phone – Clicker Blog
How to Get Started with Clicker Social – Clicker Blog
See the press release here: Clicker.com Connects Internet TV Viewers Online and On-the-Go With New Social Features and Mobile Apps - Yahoo! Finance

About Clicker
Clicker is the ultimate guide to Internet television. As massive amounts of programming move online, consumers are entering a world of infinite choices, all on-demand. Great! Finding the show you want to watch? Painful. Thousands of episodes from thousands of shows are housed on thousands of different sites, mixed amongst billions of random videos. Clicker culls all broadcast programming, and TV-quality Web originals, from these silos and delivers them in one seamless, organized experience so you can easily find, save, share and even contribute content for any show or episode online.
Clicker | Facebook
Clicker (clicker) on Twitter
Clicker's them song: http://tr.im/Q39C

About Jim Lanzone
Jim has spent the past 13 years in the Internet industry, starting as co-founder of a startup called eTour and most recently serving as CEO of search engine Ask.com. In between he had adventures with such colorful characters as Mahir "I Kiss You" Cagri and a butler named Jeeves. After leaving Ask in 2008, Jim took a position as Entrepreneur-in-Residence at Redpoint Ventures, the investors behind companies like MySpace, Tivo and Netflix, and got the bug to start a company again. He called a few of his former Ask compadres, added some new ones, and got to work building Clicker. Jim grew up in San Carlos, California, in the heart of Silicon Valley. He likes to brag that he went to the same high school as Barry Bonds and Tom Brady, and by all accounts it appears to be true. Jim holds a BA from UCLA and a JD/MBA from Emory University.
Jim Lanzone (jlanzone) on Twitter

Additional interviews with Jim Lanzone on Vator.tv
Also, Jim Lanzone spoke on the Streaming Media East panel, Video Search: Finding Content in a Thousand-Channel Universe, moderated by Andy Plesser. You can watch that video here or in my post, Beet.TV Gets to The Root of the Media Revolution.

Tuesday, April 20, 2010

The Gregory Brothers Perform "Auto-Tune the News #8" Live at the 2nd Annual Streamy Awards

The Streamy Awards were more than a week ago and a lot of the web television community has moved on from the controversy surrounding the event. Apologies have been made, myths have been dispelled and the community got together and celebrated the web in an post-Steamy Awards event. I recorded a lot of video that evening from my seat in the front row of the Orpheum Theatre in downtown Los Angeles (thanks to Kodak for the Zi8 Pocket Video Camera), and I have a few more videos to share here on the blog before I get back to covering the online video news cycle.

I was glad to be able to capture and share this performance of The Gregory Brothers doing a live version of  "Auto-Tune the News #8" at the Streamy Awards – which for me, was one of the highlights of the show. The orginal version of their video on YouTube has over 1.3 million views, which you can watch here. Enjoy!



The Gregory Brothers are a professional band singing folk, soul, and pop music consisting of Evan, Michael, Andrew, and Sarah Gregory, who is married to Evan. The Brooklyn, New York-based group is most famous for their viral video hit series the Auto-Tune the News on YouTube and Next New Networks, which uses real video clips like news broadcasts, viral videos and other talking head content to create funny music videos. Interviewers, celebrities, and politicians alike break into song in these innovative comedy mash-ups.

The Gregory Brothers won three 2010 Streamy Awards for Best News or Politics Web Series, Best Experimental Web Series and Best Original Music in a Web Series and have been nominated for two Webby Awards in Viral and Video Remixes & Mashups.

Check their website and Wikipedia page for more background on the Gregory Brothers or visit these other links:

Sunday, October 11, 2009

Web Video Pick of the Week: The Web.Files Episode #14 Tim Street

One of my favorite new online video shows is The Web.Files, a weekly entertainment talk show that exclusively covers the "web celebs” involved in creating the best, most-watched, highest-rated, and most talked about series on the web. Launched this past July 2009, The Web.Files is created and hosted by the lovely and talented entertainment reporter and media host Kristyn Burtt and produced and directed by Sandra J Payne. The Web.Files is uploaded on Wednesdays to Blip.TV, where it is featured as a hot series on the front page each week and has racked up tens of thousands of views.

The idea for the show began during Kristyn Burtt's red carpet coverage of the March 28, 2009, Streamy Awards. Burtt found that the people she was talking with that night had fascinating stories to tell and that she’d like to be the one to help tell those stories to the world through a weekly talk/interview show. Burtt then contacted award-winning filmmaker, Sandra J. Payne, whose SPwrite Productions, LLC, was about to launch its first web series, “Life with Kat & McKay” on its new portal, PurseDog. The two decided to join forces to produce the The Web.Files and have profiled more than a dozen "web celebs" including Marc Ostrick, co-founder of eGuiders, comedy duo Dave and Tom creators of Safety Geeks: SVI, YouTube star Tay Zonday and many others.

In this episode, Kristyn Burtt, speaks with veteran new media guru Tim Street, Chief Creative/CEO of Ape Digital, blogger at 1TimStreet.com and creator of French Maid TV, among many other ventures. Tim began his focus on web entertainment in 1999 and is one of the pioneers in the web series field. He has attained respect for his business model in the web video world as one of the few series producers to figure out how to monetize online video through sponsored entertainment. Tim recently produced a free eBook, 10 Things You Should Do Before You Upload Your Online Video, and regularly shares his insights on how to be effective online on his blog and at industry conferences and web television events. He'll be a featured speaker this next week at Blog World Expo in Las Vegas, October 15-17, 2009. This video offers a rare view of the man behind the sunglasses in a candid and insightful conversation.


On her blog Red Carpet Closet, Kristyn said,
"I really hope that web series producers and those interested in the new media industry listen carefully to what Tim has to say in the interview. He has a lot of valuable information to share and with his new e-Book on the way, you will get a Top 10 of things to do and not do before you upload your first web series. So many of us have jumped into the web world in the last 2-3 years. Can you imagine creating something for the Internet in 1999? Well, that is exactly what Tim did. He knows what he is doing and he was doing it way before any of us knew that you could tell stories via the web."

Saturday, September 5, 2009

'The Guild' Season 3 Gets Embedded



The Guild  Season 3 - Episode 1: Expansion Time premiered this week on MSN’s Parallel Universe after last week’s exclusive roll out on XBox. On her blog Felicia Day talked about the premiere of Season 3, the challenges involved in the production and the big difference in their syndication strategy. 

Felicia said:
"Last season it wasn’t embeddable so it’s cool to be able to spread it around this season, thank you MSN and Sprint! Also, it’s now available on Zune and Xbox for all, so download away. Starting next week the eps will be rolling out weekly on all platforms, FYI."
On Tubefilter News, Marc Hustvedt talked about the open embedding:
"MSN is now allowing embedding of The Guild episodes after being notoriously closed off last season and forcing viewers to head to the cluttered video.msn.com site. This is a savvy move for MSN, and a necessary response to the significant amount of attention that Season 2 received once it was released on embed-friendly YouTube earlier this year. Fans of the web series are known to share and post videos on blogs and social networking sites all over the world. And let’s face it, web series need to free to live where people are out discussing and congregating around them."
Marc said that it will be interesting to see the difference in total views on MSN following the success of their  "Do You Wanna Date My Avatar" viral music video which was the #1 video on YouTube with over 3.5 million views to date and was #1 in iTunes music videos and Amazon MP3s. The Guild also recently secured a DVD distribution deal with the same company that released Joss Whedon’s Dr. Horrible’s Sing-Along Blog DVD earlier this year. 

The Guild was also recently featured in the Wall Street Journal which noted that while the web series has a very loyal fan base which continues to grow it's still a modest venture. The article pointed out that overall profitability for web series is low and there's been a shift to more celebrity-backed projects.

Sunday, August 23, 2009

Web Video Pick of the Week, "Do You Wanna Date My Avatar"

You got to love it when a web series makes their own music video to not only promote their upcoming season but also to have some fun. The cast from the wildly popular independent web sitcom The Guild, created by web video heroine Felicia Day about about a group of online gamer, don their armor and bring sexy back with this web video gem that asks, Do You Wanna Date My Avatar? With a pulsing dance beat and seductive moves that are straight out of Britney or Beyonce video, Felicia and crew hit a home run with the geekiverse. Who wouldn't  wanted to hang with her in her MMO (Massively multiplayer online game)

With over 2.1 million views on YouTube with over 12,000 comments in less than a week it's prime example of viral marketing done right to promote Season 3 of The Guild that premieres exclusively on MSN Video, Xbox Live, and Zune on August 25th. The video was directed by Jed Whedon who also composed the music with lyrics by Felicia Day who was producer along with Christian Agypt. 



On her blog Felicia says,
"I don’t have time to do a proper blog post about it, but our video “Do You Wanna Date My Avatar” is going CRAZY around the internet! #1 Music Video on iTunes, #1 mp3 on Amazon?! Really? It’s you guys supporting us that’s doing it! When I get a chance I will write some thoughts about this whole crazy experience, but for now, enjoy!!"

The Guild was inspired by Felicia's love of World of Warcraft which she had been addicted to for two years. She dreamed up the idea and wrote the sitcom pilot that follows the lives of the Guild players both online and offline and pitched it to a web video audience rather than TV studio wonks. The rest is history which was actually made in the short span of two years through her collaboration with Jane Selle Morgan, Kim Evey, Sandeep Parikh, Jeff Lewis and many others she knew in the business. It launched in the late summer of 2007, and for the first season was financed solely by Paypal donations from loyal fans

The Guild went on to become a web video sensation and locked up exclusive distribution of Season 2 on Microsoft's triple platform and a sponsorship deal with Sprint. Earlier this year it received numerous honors at the 1st Annual Streamy Awards garnering  Best Comedy Web Series, Best Ensemble Cast in a Web Series, Best Female Actor in a Comedy Web Series (Felicia Day).