Cynopsis: DIGITAL
02.06.13

Good morning. It’s Wednesday, February 6, 2013, and this is your first early morning digital briefing.

AOL has rebranded its Advertising.com Group as AOL Networks. According to the announcement from the company, the new name “clearly represents [AOL’s] recognized cross-screen offerings across premium, programmatic, and performance advertising. [AOL Networks] should help all stakeholders better understand the rich stack of assets and robust technology it brings together for its nearly 20,000 publishers and 4,000 advertiser and agency clients.” The AOL Networks umbrella consists of five different ad services: Advertising.com, a premium, cross-screen network that offers programmatic buying, a proprietary DSP, and network-exclusive access to AOL inventory; The AOL On Network, the company’s premium video network; goviral, a branded content distribution solution; ADTECH, a cross-screen global ad management and serving platform; and Pictela, a content-based ad and premium formats platform. All five services will continue to operate under their existing names.

Netflix has signed an exclusive licensing deal with Flavor Unit Entertainment, the production company owned by Queen Latifah and Shakin Compere, for streaming its movies in the US. In the first-look deal, Netflix will get its pick of films from the production company once they’re out of theatres. Beginning in spring 2012, Netflix streaming subscribers will have exclusive access to Flavor Unit titles such as House of Bodies, starring Terrence Howard and Peter Fonda, and Percentage, starring Ving Rhames, Cam’ron, and Macy Gray.

Dick Clark Productions and Tubefilter have announced that voting is now open for the Third Annual Streamys Audience Choice Awards in the categories of Personality of the Year and Series of the Year. Fans can go online to vote for their favorite online personality or show once a day up until February 11 at 11:59pm PT. Winners will be announced live during the show, which is scheduled to take place at the Hollywood Palladium on Sunday, February 17, beginning at 6pm ET. Finalists for the Audience Choice Personality of the Year are: Ashley Clements, Bernie Su, Brad Bell, Chester See, Grace Helbig, Mary Kate Wiles, Megan & Liz, Ryan Higa, SMOSH, and The Fine Brothers. Finalists for the Audience Choice Series of the Year are: Bro Team Pill, Halo 4: Forward Unto Dawn, Husbands, Kids React, MyMusic, Red vs. Blue, SourceFed, The Lizzie Bennet Diaries, The Young Turks, and Visto Bueno.

Veteran Broadway producer Kevin McCollum is putting some money into the third season of Submissions Only, a web series that follows an actress and casting director as they try to make it in the theater industry, according to a report from Variety. The series stars Colin Hanlon as the casting director and Kate Wetherhead as the actress. Wetherhead is also co-created the series with Andrew Keenan-Bolger. Previous seasons of Submissions Only have featured an array of TV/Broadway stars, including Jesse Tyler Ferguson, Kristin Chenoweth, Nick Jonas, and Rachel Dratch. While no premiere date has been set for the third season, the Variety report indicates that McCollum would like to eventually lock up an exclusive streaming deal with a Hulu/Netflix-type, or potentially shift the series to TV in order to grow its audience and revenue.

Nutral TV is an upcoming video streaming network that wants to increase digital content discovery by having “VJs” present new web series and short films via a daily show. To accomplish this, the start-up has put out a call to producers to submit their short-form digital content for consideration. “A viewer, looking to the internet as a television alternative, might not know where to find quality entertainment,” said Nutral TV Founder Patrick Bardwell in a statement. “We not only want to mimic the original MTV presentation format, but want the viewer to lean back without having to click to the next episode every five minutes.” Producers can submit their content regardless of genres or formats. Nural TV will help producers out by also directing viewers to their respective websites. In addition to the daily streaming show, the start-up says it will look to offer trending videos from around the web, and will “very soon” have a searchable video library and producers’ marketplace. While no timetable has been given for when the network will launch, Nural TV says it will be soon and that it’s currently focused on accepting web series and short films submissions.

Here’s some digital news out of Oxygen Media’s upfront last night: The company said its 2013 digital strategy includes producing original content specifically for its digital platforms. This includes web series and original daily editorial features on Oxygen.com. On the social front, the network announced a partnership with Google for its upcoming reality competition series The Face. Tonight, Oxygen and Google are co-producing and airing a live Google+ Hangout, which will be available on the network, on Oxygen.com, and on YouTube. It begins at 8pm ET.

Correction: In the intro to this past Monday’s Q&A with The Fine Brothers, we incorrectly stated that the Epic Meal Time stars are represented by Discovery’s online video network, Revision 3. As of September 2012, the Epic Meal Time guys have been represented by Collective Digital Studio (CDS Network), a subsidiary of the full-service entertainment management company The Collective. In December 2012, comScore ranked the CDS Network as one of the top 10 YouTube partner channels.

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Videology is partnering with Kantar Shopcom to tie online in-stream video ads, as well as mobile in-stream video and display ads, to specific in-store purchases. The company says this will help advertisers determine how many users who saw an online or mobile ad actually purchased a product, as well as how different engagement metrics, frequency allocations, and media mix influenced sales. Kantar Shopcom tracks consumer-level purchase data at the brand, product group, and individual item levels for 300 million US consumers across more than 250 categories in the CPG and Consumer Products verticals. “When we started working with Kantar Shopcom last year, the interest from CPG advertisers in utilizing Kantar’s data to increase the ROI of their online video campaigns was exceptional. One year later, we find the overwhelming request from advertisers is to extend these capabilities across devices and into additional categories like consumer electronics and apparel,” said Scott Ferber, Chairman and CEO of Videology. Videology says that more than 20 brand partners have already started using this new Kantar-enabled capability across both online and mobile video.

That’s not the only news from Videology. In fact, that’s not the only mobile video news from Videology today. The company has also signed an exclusive deal with Korrelate to — much like its deal with Kantar — link online and mobile in-stream video ads to offline auto purchases. Videology has been working with Korrelate for more than a year to help auto advertisers connect their online video ads to offline auto sales, using vehicle data from Polk. The decision to extend these capabilities to mobile follows a growing need within the automotive market, according to the companies. In the announcement, Videology cited an October 2012 study from J.D. Power & Associates, which found that “31% of in-market vehicle shoppers have visited automotive websites via their smartphone, compared with 24% in 2011 and 17% in 2010.”

comScore says it has expanded its US mobile measurement assets to now include data on more than 1 million smartphone users, 400,000 tablet owners, and 150,000 households with connected devices like gaming consoles and smart TVs. These samples are used to help comScore’s multiplatform audience and ad campaign ratings products. “A critical ingredient to reporting unduplicated audiences across platforms at scale is having census-level big data assets that provide enough common touch-points to determine audience overlap,” said Serge Matta, comScore’s President/Commercial Solutions. comScore says it’s now able to provide detailed reporting of media consumption for a large number of properties within each media environment and enhanced geographic reporting of audiences and campaign delivery by local market. The company says it also has an improved ability to perform statistically reliable campaign analysis for “multi-variable audiences,” such as health-conscious females, ages 18 to 44 and with kids.

Twitter has acquired social TV analytics start-up Bluefin Labs, according to a report from Business Insider. The report indicates that this is Twitter’s biggest acquisition to date, which would put it above the $40 million the company spent in 2011 to buy TweetDeck. Bluefin’s investors include Time Warner Investments, SoftBank Capital, and Lerer Ventures, among others. TV is becoming a big deal for Twitter. If you glance at Twitter’s blog right now, the top posts both revolve around TV programming. The first one highlights the shows this week that will be live-tweeted by one of their stars. The second one offers data related to the Super Bowl (there were 24.1 million tweets during the game and halftime, excluding tweets related to ads; the company also takes care to mention that approximately half of all broadcasted Super Bowl ads featured a hashtag). In December, Twitter and Nielsen announced a partnership to develop and launch a new social TV ratings product in time for the fall 2013 season. The Bluefin acquisition will presumably serve to advance that product as well as the company’s other social TV initiatives.

12% of US TV viewers reported streaming TV shows for free online during the past three months, while 14% said they watched a TV show via a subscription video-on-demand (SVOD) service, according to the latest data from The NPD Group. To NPD, this signals that while broadcast networks are still dominant, newer options are beginning to encroach their territory in the consumer TV landscape. “Over half the viewers for streaming TV are between the ages of 18 and 34, so the YouTube generation is evolving from short-form and user-generated content to TV shows and, like YouTube, they can watch where and when they want,” said Russ Crupnick, SVP/Industry Analysis at NPD. “Despite the attention lavished on tablets and phones, an astonishing 83% of free TV streaming programs are viewed on a computer,” he added. Hulu was the top free streaming TV site, with 43% of total streams during 2012, according to NPD. After Hulu, the top five broadcast network sites (CBS.com, ABC.com, FOX.com, NBC.com, and CWTV.com) accounted for 30% of total streams. Rounding out the top ten were four cable TV sites: ABCFamily.com, ComedyCentral.com, MTV.com, and A&ETV.com. In other good news for the top 10 free streaming TV sites, NPD research indicates that consumers by and large are satisfied with them. 75% or more of each of the top 10 sites’ users said they intend to return to that site in the future. FOX scores the lowest within this category, which NPD attributes to the network’s strategy of delaying the availability of new episodes of its TV shows online.

According to Texas-based Dachis Group, a social marketing optimization firm led by Razorfish Co-Founder Jeff Dachis, Pepsi generated more than 700,000 social comments and actions during halftime or one of its commercials. The social sentiment largely skewed positive for Pepsi, as Dachis Group saw a three-to-one ratio of positive conversations to negative conversations surrounding the brand during the game and the halftime show. The brand that didn’t do as well was GoDaddy. According to Dachis Group, Go Daddy’s polarizing commercial (which featured model Bar Refaeli locking lips with a geek) generated more than 900,000 new YouTube views in the hours following the broadcast. However, most of the conversations online associated with the brand were negative, enough to land Go Daddy the honor of being the most negatively discussed brand for this Super Bowl. Other Super Bowl ad winners include Mercedes and Budweiser. Mercedes’ teaser ad featuring supermodel Kate Upton, which was released in the days before the big game, has yielded more than 6 million YouTube views to date. Budweiser’s sentimental Clydesdale commercial was number one in terms of likes and shares generated by a piece of content (310,000 likes and shares).

Media valuation platform Integral Ad Science has appointed Niall Hogan to the newly created position of UK Managing Director. He will lead expansion of the company’s business in the UK and across Europe. He has been slated to set up several regional offices and will oversee key hires across the region. Integral provides digital tech solutions that help advertisers evaluate the media environment in which their ads would run. The company gives the environment a TRAW (True Advertising Quality) score, which is designed to serve as a holistic measure of media quality, encompassing safety, viewability, suspicious activity detection, professionalism, ad clutter detection, and other metrics. Integral Ad Science was formerly known as AdSafe Media.

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Let’s end our third and most likely last day of post-Super Bowl coverage with something fun. One of the biggest stories out of the game was obviously that 34-minute blackout. A surreal moment that was also responsible for some fantastic humor on Twitter (yes, I was one of those “social TV” users). My favorite type of joke was far and away anyone who attributed the blackout to Bane, the lead villain in last summer’s blockbuster The Dark Knight Rises. Well, one of the biggest stories out of the biggest television of the year means it was only a matter of time until someone produced a video sketch about it. Leave it up to the Funny or Die guys to get to it first with the appropriately titled Bane Causes the Super Bowl Blackout. It stars SNL alum Chris Kattan.

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Later – Sahil
Sahil Patel, Associate Editor for Cynopsis Digital
02.06.13

Roberta Caploe: Editorial Director
Denise O’Connor: Group Publisher, Media Entertainment
Diane K Schwartz: Senior Vice President, Media Communications Group

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