Then try our latest My Rock Band application and tell me what you think.
]]>Then try our latest My Rock Band application and tell me what you think.
]]>Really cool video of Johnny Lee's demo at TED.
]]>Great talk by Barry Schwartz about choice and the sometimes less than positive consequences.
]]>Due to various reasons I won't go into here my post on Broadcast took a little while. Sorry for those not in my neighborhood who had to wait. Here it is.
Comments always very welcome.
]]>Here's draft for latest post for Broadcast. As always, would really appreciate thoughts and comments.
Jens
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As audiences and advertising dollars continue to shift time and money online, most of us these days recognise the value of the medium, not only as a place to market shows, build relationships with audiences, and distribute video clips; but also as a medium where we can genuinely extend the television experience (e.g. www.americanidol.com); and launch new entertainment brands (e.g. www.bebo.com/jellybeats) and totally new products (e.g. www.webkinz.com). You’d think that with this realization we’d see a more fundamental shift in broadcasters’ commissioning budgets as well as significant content investment by online channels.
The reality is that most show-sites still adhere to some version of the “clip, pic and game” approach; nearly all broadcasters only commission online content if it’s supporting their shows (rather than see it as a distinct medium in which they operate); and online channels don’t have any significant commissioning budgets. Yes, there are some exceptions we’ve all read about in the trades, whether that’s HBO's Voyeur, Channel 4’s FourDocs or Bebo’s Kate Modern, but these are the exceptions that prove the rule.
Why is this the case, is it likely to change and what are the implications for television producers?
In the case of broadcasters it is primarily a short-term question. Understandably their business is still defined as “television”, the key success measure is ratings and most people come from within the industry. It therefore makes total sense (just about) that online is still there to predominantly service a television-driven organisation. As audiences and advertisers continue to shift towards what is already a critical mass; and some innovative broadcasters pave the way; that will change. The “business” will be redefined to something more akin to “arbiter of taste”, commissioning content cross- and irrespective of platform; success measures will include new terms such as unique users, repeat visits and time spent; and web-folk will be fast-tracked through the organisation.
In the case of online media owners it’s more mixed. A key but short-term issue is the fact that video still has a relatively small share of the overall online advertising pie. Most people we speak to believe this will change significantly within the next 12 to 18 months as more and more brand owners see the opportunity of online video advertising and allocate a larger and larger share of their overall budgets to this format. With higher budgets comes a need for more quality content that advertisers want to be associated with, which will in turn drive channel owners to offer more engaging content to satisfy their clients’ requests.
There are some more structural issues though when it comes to online which may shape the overall content budget landscape of the future. The first is that online channels are as much about functionality and services as they are about content. To attract and retain eyeballs, media owners need to offer user-friendly navigation, as well as free email, web-space, social-networking and other services, to hook users in and then send them to the content where they can sell valuable ad space (see The Economist March 22nd). Content budgets will therefore only ever be a proportion of the overall audience investment. The second issue is that online channels can fulfil most of their content needs by licensing in and repackaging both professional and UGC video, audio and text content that’s already been produced or is being produced by their own audience, rather than taking the risk of commissioning new and exclusive content. Online channels therefore really only need (and are likely to commission) content that genuinely helps them differentiate their overall offering in the wider market, helps promote a particular service or functionality, or satisfies a particular advertiser’s need.
While this structural issue is particular to online at the moment, as the two media become more alike (i.e. on demand and interactive) it is likely to become more common to both. From a content producer’s point of view it therefore means that while, at the broadcaster the online budgets for genuine show extensions and new online properties will grow in the short to medium term; in the medium to long term commissioning budgets overall will more than likely become focussed on concepts that are either big; showcase a channel’s services and functionality; or are advertiser funded – or ideally all of the above. This means that producers will need to be in the big budget league; have an in-depth understanding of online audiences and platforms; and be aligned to an advertising agency network to stand the best chance of tapping into major content budgets in the longer term.
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And here's the movie ;-)
]]>Well, we finally did it. Jellybeats, our first co-production with Aardman is live. I'm all DISCO. What about you?
You can check out the site at www.jellybeats.com and get more stuff at www.bebo.com/jellybeats. What do you think?
Will share stats, learnings, development etc. here. Just checked and already 27 embeds on Bebo without it even going live officially. Fingers crossed.
]]>Well I posted on this a while a back and it definitely was great... closer to work, in town and it was summer but with a little one, a smallish flat in winter and the noise from the Langley, it did get too much.
So here we are... South Ealing, a garden, clear line of sight, a house, and I'm loving it. Yes we've exchanged a 45 second commute for 45 minutes, the National Portrait Gallery for Lamma's Park and China Town for a Polish Deli but it's amazing.
Was our "homing in on work" experiment a success? Absolutely. It was a great experience that will stay for us forever, not just because our son was born there or we LOVED the weekends but because it was one of those things we had to do.
Any advice for people thinking about changing a commute for smaller space closer to work? Do it but be careful where you move to. Open space and peace and quite... a sanctuary from the hubbub of town is key... so home in on work as long as you still have a haven to call home.
Saw this image and couldn't help but post it. It just made me smile. What with the volume of web 2.0 businesses launching... is there a bubble?
Discuss!
We've just launched an application where you can create a Viva Voodoo doll of yourself or those you love (or love to hate).
Here's me...
...and here's Britney...
