Easily Create Beautiful Marketing Videos

A new online video creation service is available. This changes the video creation market. While it makes it easier for small businesses to create their own marketing videos, it challenges trained video professionals and storytellers to create more value in their service.

If you want to check out the new service called Promo go to: https://slide.ly/promo
The service includes footage, music and easy to use editor,just add your message and a logo!


What are videographers, video editors and storytellers for?

To help you create custom educational, entertaining and informative videos to truly engage, empower and create value for your audience!

We live in an age where cheap quality videos are available, but they are simple. Remember to get to the point. Make your marketing video 6 seconds, any longer and you’ve lost the audience.

Do you want to engage the audience with a story, teach them a new skill or provide some valuable information?

Contact notTV
to hire a LOCAL storytelling team
and watch your community thrive.

Facebook paid to have first-rights to series

Two companies said they were paid between $10,000 to $25,000 per episode for their shows. They’ll also receive 55 percent of the ad revenue while Facebook takes the rest.

In a move that could be seen as a direct competitive move to YouTube, paid series have to debut episodes on Facebook, according to the publishers. However, they are allowed to move episodes off-platform to their own owned-and-operated players or YouTube after a certain period of time. Though Facebook was encouraging publishers to use their player off-site, the goal is to get as many people watching Facebook shows on Facebook itself, multiple sources said.

Facebook has just made a case to increase the cost of advertising on the Internet. In a brazen move the corporate behemoth started paying content creators for a limited time license to their content. In a statement

If Facebook succeeds in getting more people to watch its original series on its platform, it could help the company solve a major issue they are facing: Having too many ads. The company has acknowledged its NewsFeed is growing overstuffed with ads. If people watch shows, they’ll be spending more time on Facebook. That would allow the company to charge more for ads because users are more engaged, without having to increase the number of ads on the platform.

The Internet moves quickly.

It’s time to position.

Branded Content and Programmatic Are the Future of Online Ads

Everything else is going to disappear. A Streaming Media East panel looks at what will succeed and what’s already lost in online video advertising.

Creating work that people will pay attention to requires an entire team of people, according to the panelists in “The Future of Branded Content,” a panel held at the recent Streaming Media East conference in New York City.

How can we do work that people are going to pay attention to? That’s the question at the heart of all content, but in this case, James Del, vice president of programming at Gawker Media, was talking about the push behind brands and their thirst to create branded content.

With representatives from agencies, publishers, and platforms on the panel, the importance of collaboration was top on everyone’s mind.

“Ideas are still an endangered species,” said Jason Harris, CEO and president of Mekanism. So he said it’s important that everyone get behind whoever happens to have the best ideas, whether that’s a publisher, a marketer, a PR person, or the brand.

The panelists agreed that branded content is hardly new.

“The future of branded content looks a lot like the past of branded content, to be honest,” Del said.

Jeremy Levine, senior vice president of digital sales at Live Nation, pointed to the beginnings of soap operas when the star of the show would turn to the camera with a box of laundry detergent in her hands.

“I look at it as building from the past,” Levine said.

Greg Rivera, senior director of advertising solutions at Microsoft, said one of the main differences between the branded content of yore and today is technology and all that it makes possible. For example, Microsoft was able to partner with Paramount Pictures to promote the upcoming release of its Teenage Mutant Ninja Turtles movie by producing a downloadable game for Xbox. It used the Kinect’s motion sensor capabilities to put users in the action. It wasn’t until players made it to the second level of the game that they were reminded the movie was about to be released in theaters.

Microsoft is also a strong example of why collaboration is important. Microsoft doesn’t create content in-house. It sees itself more as a platform with big audiences and a lot of partners, and farms out most content creation to outsiders.

Branded content can threaten editorial integrity, and different organizations deal with that challenge in a variety of ways. For Gawker, the wall between church and state remains strong. It doesn’t take down old posts to make advertisers happy (as BuzzFeed has), and concentrates on building reader trust. When a brand wants to partner with Gawker, Del said, readers know they can trust that brand. When Gawker wrote a diatribe against moist wipes in the bathroom, for example, Cottonelle seized the opportunity to sponsor the post after it had been published.

Does all of this mean the banner ad is finally dead? Not quite, the panelists said. Online advertising is moving to two different extremes. On one end is the programmatic solution, and on the other is custom content. It’s everything in the middle that’s getting squeezed out.

At the end of the session one audience member asked the question on the mind of many in branded content: How can people measure ROI? Be clear about the metric being measured even before launching the campaign, Del said. Right now, it’s mostly about measuring brand lift, Levine added. But Rivera pointed out that when working with a partner like Microsoft, which has the ability to examine how people act after being exposed to a piece of branded content, it’s possible to know more about the campaign’s impact.

The long history of branded content makes one thing clear: It will continue to change in the future, but it probably isn’t going anywhere.

Source: Streamingmedia.com

CRTC News Release on the Changing State of Television and Advertising

While we have removed some text from this article it is still fairly long but there is a lot of relevant information that people may find interesting.

May 21, 2015 (Toronto, ON)
Tom Pentefountas, Vice-Chairman, Broadcasting

Thank you for your warm welcome. I thought you might all be depressed these days, following the finale of the Mad Men series. As this Forum makes clear, we’re entering a new ad man – and woman – era; one every bit as exciting as the earlier advertising age.

I don’t pretend to be an expert on advertising, of course. But I know – from the CRTC’s recent consultations … public hearings … and eventual decisions surrounding our Let’s Talk TV policy review – that a world of opportunity is opening up for your sector. I’ve come today to highlight how the Commission’s roadmap for the future creates new avenues for advertising. Before I do, I’ll provide a broad overview of what we set out to do with Let’s Talk TV … the conclusions we came to … and some of their implications for the future of TV advertising in this country.

Let’s Talk TV

It’s no secret to anyone here that the TV world is undergoing a profound shift; a shift being led by viewers, who are now in the driver’s seat. And one which demands that content creators and distributors, as well as television advertisers follow their lead to remain relevant.

Canadians’ viewing habits have evolved rapidly in recent years. They are migrating away from the traditional TV set and watching the content they want, where, when and how they want, using the latest technologies. The volume of content and viewing options available has never been greater. Consider that 300 hours of video are uploaded to YouTube every minute, of every day, of every month. That’s on top of the 1,300 hours of traditional television Canadians can access every waking hour of the day.

This abundance of content, coupled with new tools to access it, has empowered the viewer. It has fundamentally changed the roles played by mainstream broadcast media – including advertisers. As the CRTC’s Chairman likes to say, while content remains king, the viewer is emperor. And no amount of regulation can stop that.
So, with Let’s Talk TV, we set out to hear what Canadians have to say about the future of TV – what they need, what they want and what role new technologies will play in providing it. The CRTC also wanted to ensure that the new framework fosters choice and innovation … encourages the creation of compelling programming made by Canadians … and empowers Canadians to make informed choices. We needed public input to develop a forward-looking framework that ensures Canada’s television system not only adapts to, but capitalizes on, the rapid rate of change.

We listened to more than 13,000 Canadians who participated in various phases of Let’s Talk TV and received presentations from industry experts from across the broadcasting spectrum. Based on what we heard, the Commission concluded that we need to update our toolbox and challenge conventional thinking to respond to changing times. Old solutions no longer suffice. Protectionism is an anachronism in an age of abundance and a world of choice.

So, the CRTC is tearing down barriers to innovation that have hampered broadcasters and producers, and throwing open the door to new ideas.
We want to cultivate the necessary conditions for the creation and promotion of compelling high-quality content that audiences at home and abroad will choose to watch. And as a result, you can pitch sponsors’ products to these audiences.

The sand is moving beneath our feet and it would be irresponsible to ignore it. American broadcasters, too, have no choice but to change. Who would have guessed the Cable television Advertising Bureau would become the Video Advertising Bureau and now include the networks?

Key changes

I will highlight a few of our recent decisions, focusing primarily on content related issues since they are the most relevant to you.

We’ve decided that Canadian video-on-demand services will be able to offer exclusive content as long as they are available to all Canadians over the Internet without needing a cable or satellite television subscription.

Many stakeholders felt disadvantaged in the face of foreign online video services. Well, here you have it – a level playing field. Producers need to create innovative and appealing programming in order to stand-out in a sea of content. So we’re reducing our reliance on quotas for the amount of Canadian programs that local television stations and specialty channels must broadcast. Quotas simply won’t work in the future.

Instead, we are focusing on prime time. We’ve also struck down rules under which specialty channels could only broadcast certain types of programs. And Canadians will be able to choose the television channels they want – either on a stand-alone basis or through small, reasonably-priced packages. This paves the way for programming innovation, as broadcasters will need to be creative to distinguish their brands and appeal to viewers. We are not dictating business models; our objective is to foster a more open and competitive television market, and an environment that nurtures innovation in the programs Canadians watch.

Another significant change, we now expect all broadcasters to financially invest in programs made by Canadians. We will require a greater number of local stations and specialty channels to reinvest a portion of their revenues into the creation of made-in Canada content.
This shift away from outdated protectionist policies to expenditure requirements underlines that we want creators and distributors to choose quality over quantity.

Audiences around the world have access to the best content. If we’re going to be playing on the world stage, our content has to be of the same calibre. Otherwise, we risk being left behind in the digital world and becoming known as creators of second and third-tier content that no one wants to pay for or watch.
If you have a top-notch product that can take on the world and attract big audiences – the world is now your oyster. So, think big.

Let’s be world conquerors, not the conquered; the victors, not the vanquished.

Golden Age of Targeted Advertising

We may agree to disagree about a few of these things, but I’m sure there’s no disagreement that the potential for advertisers in this new age of television – whenever, wherever and however it is watched – is extraordinary. As you’ve undoubtedly heard this week, there may never be a better time to be in the ad business. There are all kinds of new approaches to advertising that are dramatically reshaping your sector – for the better.

Addressable ads

The ability to deliver addressable TV advertising is revolutionizing the advertising industry.
Addressable ads have far greater precision than traditional approaches. Because of their focus on particular consumer profiles, they can be directly targeted. And they provide immediate feedback from these audiences. This means marketers can both target and interact more effectively – tailoring and coordinating messages across TV, online, smartphones and tablets. The Television Bureau of Canada says that major media generated net advertising revenue of $12.3 billion in 2013. So, there’s clearly a lot of money – and opportunity – at stake.

Set-top boxes
Just as the era of Mad Men is passé, so, too, are audience measurement tools from the golden age of television.

We no longer live in a four-channel world where you get up to change the channel. As you know only too well, today’s 500-channel universe has led to audience fragmentation. And that poses major problems for advertisers like you and the sponsors whose products you promote. Traditional measurement systems are unable to capture these fragmented viewers. Knowing who’s watching what is critically important because measurement equals monetization. And we’re leaving money on the table when we don’t know precise market shares.

Proper measurement not only increases content creators’ pool, but also contributes to the advertising community’s bottom line. The fragmentation of audiences and multiplication of platforms and windows need not be feared.

Discoverability Summit

Something else coming along later this year is a Discoverability Summit, to be hosted by the CRTC. The Commission appreciates that making great programs and measuring their viewership is only half the battle. Great content means little if viewers cannot find it. For Canadian-made content to succeed, it must be widely available…visible on multiple platforms…and easily found.

The Discoverability Summit, to be held in the fall, will generate new thinking about tools and methods to connect viewers with content.
Algorithms – such as those used by online retailers to recommend goods to consumers – are among the tools used to connect viewers with the content they’re seeking. In the same way that big data is now being mined to target sales of laundry detergent, the likes of Netflix, Crave and Shomi are also finding innovative ways to capitalize on viewers’ shifting tastes.

Conclusion

All of the measures I’ve outlined today set the stage for an exciting new era in Canadian broadcasting that enables Canada’s creators – and, by extension, advertisers – to excel in a fast-evolving environment. Let’s Talk TV confirmed that Canada’s television system is healthy. We have the necessary financial resources in the system to create and promote great programs. We have the talent to bring these programs to life. We have viewers who are hungry for new and interesting content.

I think we need to have an outward vision. We need to leverage the infrastructure we have in Canada to seduce the world with our vision, our stories, our creative genius. Given the advertising industry’s proven track record of being bold and innovative, I have no doubt you will identify and seize new opportunities in this brave new world of television.

I am equally confident that you will continue be successful as TV advertising of the future unfolds.

Thank you.

Brands Are Swiftly Taking Automated Digital Ad Buying Operations In-House

Here are a few excerpts from an interesting article on digital advertising:

Brands are taking their automated digital ad buying operations in-house, and they’re doing so swiftly

  • In-house spend is the fastest growing category in the programmatic ecosystem,
  • The movement of programmatic operations in-house will likely be concerning to ad agencies, the traditional stewards of marketers’ advertising creative and media operations.
  • Every month, 60 billion ad impressions are purchased through Index
  • Since Index services only the sell side, it requires buyers provide more information than usual….which is what allows the categorization.
  • The two main categories driving the in-house movement are financial and CPG advertisers
  • ad buyers are frustrated with ad agencies’ approach to programmatic.

(Editor’s note: What is Programmatic Direct?  One definition: Programmatic direct is a way to automate direct ad buys for set campaigns.)

Source: Thewrap.com

NAB 2015 Keynote: Google Sends Greetings From ‘Valleywood’

Our entertainment now comes from “Valleywood,” which, as Rany Ng, Google’s director of product management for video advertising, explained in her NAB keynote address, is the merger of Hollywood and Silicon Valley. Valleywood means change: change in how people view content (including new options such as binge watching) and change in how advertisers reach those viewers.

“It’s created this massive explosion of content,” Ng said. “We’ve entered in this golden age of viewers.”

The entertainment industry has shifted from one of scarcity to one of abundance, Ng said.  Multiscreen viewing has grown by over 500 percent in recent years, she noted, and viewers now watch three more hours of online TV per month than they did only last year.

Rany Ng

Advertisers are also trying to deal with the shift to abundance. While 20 years ago they could work with the 4 major networks and know they were reaching their customers, today they have many more choices.

In this new landscape, there are three things programmers and distributors need to think about, Ng said:

Capturing the moments that matter: Brands can’t afford to be on every screen all the time, so they need to be selective and offer relevant messages to viewers.
Discovering new moments: Online TV metrics and ratings have “become this massive logic puzzle,” so advertisers need forecasting that helps them reach a desired audience.
Monetizing those moments: Google is seeing success with its programmatic marketplace for premium buyers and sellers, Partner Select.

Google acquired video advertising company mDialog in June 2014, and Ng announced that Google has now connected mDialog’s inventory with the DoubleClick Ad Exchange. This will help content owners sell programmatic ads on their inventory across multiple screens.

Google is expanding the tools available in DoubleClick for Publishers, Ng announced, to help publishers forecast their available inventory with greater accuracy. DoubleClick for Publishers now shows the impact from patterns in commercial breaks, and will soon let publishers use seasonality in forecasting upfront cycles, and also create models based on offline data.

Shortly before it acquired mDialog, Google created Partner Select, a programmatic marketplace for premium content and brands. Ng offered some stats on its success, noting that it now includes over 30 broadcast and premium content publishers and over 20 brand advertisers. Partner Select ads have a 74 percent completion rate, she said.

Ng concluded the keynote by urging attendees to think about letting advertising create moments, and explore new models of advertising.

Source: Streamingmedia.com

The State of Online Video Advertising 2015

Advertising agencies that specialize in online video enjoyed a pretty solid 2014. Not only were sales up, but the most talked-about advertising videos all started online. The medium gives creatives the freedom to push their ideas farther than TV ever did. So what’s ahead for 2015? More of the same, we’re pleased to say. In the online video space, agencies need to produce work that people want to see, that they’ll watch over and over again, and share with friends. That high standard is driving agencies to create outstanding work—sometimes with Hollywood-sized budgets, sometimes on a shoestring.

The Year That Was

  • In 2014, it seemed like every other blog post or article was about “programmatic” advertising. By the end of the year, half the advertisers still didn’t know what “programmatic” meant and the other half were sick to death of hearing about it.
  • Advertisers couldn’t get enough of live events in 2014.
  • For many, the endgame in online video advertising is reaching parity with TV advertising, so that ad buyers see all screens as the same and spread their campaigns across online and TV channels equally. But online ads should cost more, they add, since they deliver demographic targeting that TV will never be able to touch. These idealists saw a little progress in 2014, but the online video ad world is still very much a kid brother to TV. Before online gets the same kind of ad spending as TV, it will need to get the same kind of viewership.
  • Measurement will also need to advance before online media sees parity with TV. Much of the discussion in 2014 was about how to measure online viewers. Online video supporters point to the advanced demographics that online offers and wonder why anyone would advertise anywhere else. But the realist sees that TV has unbeatable reach.
  • Mobile viewing is still a small share of total video viewing, but by the end of the year tablet and smartphone views counted for about 30 percent of all video starts, and that raises eyebrows. Mobile is attractive to advertisers because, unlike with TV or even desktops, it’s all but assured that only one viewer will be in front of the screen and will be undistracted. That lets advertisers better target ads. In another year, mobile views will make up about half of all video starts, and then mobile could become the preferred mode of online video advertising.
  • In April, YouTube introduced Google Preferred, a program that offered advertisers the cream of YouTube inventory. The idea is that YouTube reserves ad slots on the top 5 percent of its shows in multiple verticals, and advertisers can buy into this highly selective inventory. When it was introduced, it drew a few chuckles from the audience. After all, even 5 percent is a vast amount, considering how many views YouTube gets. And why are some slots judged as more desirable? Nonetheless, YouTube announced in October that Google Preferred slots had sold out.
  • One hot topic, especially at the end of 2014, was ad viewability. The Media Rating Council (MRC), working with the Interactive Advertising Bureau (IAB), introduced the first viewability standards in June. Video ads are considered viewable if 50 percent of their pixels are on screen for 2 continuous seconds. The standard seems low, but the MRC says it isn’t about making sure an ad was seen, but ensuring it has the potential to be seen. Look for 2015 to be a year of transition for viewabilty, when ad platforms gear up to track the new standard accurately.
Google Preferred
In April 2015, YouTube introduced Google Preferred, which gives advertisers access to ad slots on the top 5% of shows in multiple verticals. By October, all Google Preferred inventory had sold out.

Online Video Advertising in 2015

How will the online video ad world change in 2015? We needed to call in an expert for the answer, and there’s only one person for the job: David Hallerman, principal analyst for eMarketer. He’s spoken to the experts, he’s crunched the numbers, and here’s what he had to say. On the nearly ubiquitous topic of programmatic selling, Hallerman has some advice for the confused: Just remember that another word for “programmatic” is “automatic.” It’s computer-automated ad buying: Input your criteria and automatically get the desired ad slots. It’s automatic, but only to a point.

  • How does the buyer know if viewers are paying attention? Viewers could walk away or get a snack—there’s no way to know. Desktop viewers could click another tab while an ad plays, so that an above-the-fold play isn’t actually viewed. More accurate metrics will help solve the problem.
  • “Even though tablets are owned by fewer people, there’s more money going to be going to tablets because they’re great media consumption devices,” Hallerman says. “Kind of like TV, people are consuming content and they’re watching videos of different sorts, and it works well for ad placement.”
  • In terms of metrics, to have ad placements with sure viewability where the ad is viewed for more than 3 seconds or the ad is viewed by a real person and not a bot or the ad is viewed because it’s top of the screen and not running below the fold will become an increasingly important metric
  • There’s still more additional dollars flowing to TV than digital video.
  • TV ad money is safe in the short term and it’s safe in the medium term, as well. Go any longer than that and the two areas will be so blended that the distinction won’t matter anymore.

Source: StreamingMedia.com

YouTube Brass Pitch Google Preferred at Brandcast

Advertisers can zero in on the good stuff with Google Preferred, buying ads on the top five percent of YouTube’s inventory. Plus, that buy now comes with a guarantee.

While other video destinations pitch their best upcoming original content in the hopes of getting advertisers to sign on, YouTube doesn’t have original content to pitch. Instead, it reminds the audience that it’s the site that creates dance trends for the rest of the world to follow, and it’s the site that turns 13-year-olds broadcasting from their bedrooms into megastars.

Besides selling its reach and influence, this year YouTube sold Google Preferred, a selection of the top five percent of YouTube’s content. With so many videos on YouTube, advertisers must feel overwhelmed, unsure where to put their money. Google Preferred lets them know they’re getting the most popular content in whatever category reaches their target audience.

Source: Streaming Media

Digital players are emerging as traditional TV’s biggest competition

Adap.tv Australia and New Zealand
Mitch Waters

Digital players are emerging as traditional TV’s biggest competition from both an audience and an advertising perspective and are being very aggressive as well. Reports of Facebook and Google asking for up to 40% of TV budgets to move to online have been widespread. They are using online accountability to demonstrate audience migration and to prove ROI in advertising dollars.

Panel-based measurement was sufficient enough when viewer choices were limited. But, with the many television channels available for viewers today, not to mention the advent of quality programming in digital, accurately capturing viewership has created a massive challenge, one which has marketers taking a deeper look into how their ad spend should be allocated for maximum effect.

Broadcasters need to, and can, adapt. Seven and Nine’s pitch to increase peak time advertising to 20-minutes per hour (from a current 13 minutes) is a short-term band-aid. We can reasonably expect a larger share of their audiences to increase their viewing time on time-shifted or digital environments if those ad loads prove too much. Or, worst still, viewers will flock to ad-free illegal or pirated content.

Programmatic provides TV broadcasters a real opportunity to take back those TV budgets that are under fire, supporting their clients’ buying decisions with rich data sets and enabling campaigns that use the optimum mix of publishers across multiple delivery channels.

To be clear, the TV panel will still be pivotal for the ecosystem to work; it is, and will continue to be the TV currency, but buyers are asking for more.

In the digital world, data equates with value. Generally, the more a publisher can demonstrate who is viewing or clicking, the higher the premium. In the traditional TV world, behavioural or set-top box data can compliment the viewing panels to provide broadcasters with detailed behavioural insights. These deeper data feeds can be onboarded onto technology platforms to better package TV media by audience and increase the attractiveness of available inventory.

Ad spots that attracted low audience numbers, based on panel measurement, would see their yield substantially increased as they are aggregated by audience and become tools to target specific audiences in a more holistic on-air on-line hybrid campaign.

It’s also likely to improve the yield of blockbuster shows. Major brands are likely to see that broadcast TV can continue to reach a large part of their target market. Without the supporting data, they will continue to siphon off slices of this spend to online, where they have a clearer idea of who is watching.

At the end of the day, irrespective of the delivery method, TV is still TV. The viewer, watching on that massive high-definition TV that dominates the living room, doesn’t care how it’s delivered. Advertisers don’t care, either, provided they reach the right people, at sufficient volume, at the right time in the purchase funnel. This relies on as much data as possible to support buying decisions and the ability to build campaigns across multiple platforms, with an efficient means of distributing material to the appropriate outlets.

Read more at http://www.adnews.com.au/opinion/in-the-battle-against-online-media-programmatic-may-be-tv-s-secret-weapon