Posts Tagged ‘time’

NBC’s Robert Greenblatt Has No Regrets About His Surreal Upfront Duet with Dolly Parton

May 12, 2016  |  Media Week  |  No Comments

NBC Entertainment chairman Robert Greenblatt hates sitting through upfront events as much as you do. "I think those upfronts tend to be just mind-numbing for the audience. They go on too long, and we show clip after clip and they become routine and formulaic," Greenblatt said. So as NBC was preparing for last May's presentation at Radio City Music Hall, Greenblatt was eager to shake things up. "I thought, is there something that we can do that just feels different?" The result was surprising and surreal : partway through the proceedings, Greenblatt introduced Dolly Parton, who performed her song "Coat of Many Colors," which was the basis for the first of several movies NBC was going to make based on her life and music. Then, she asked Greenblatt to join her on "I Will Always Love You" —and he did. While the exec held his own on the piano ("He usually sings with me," Parton said), it didn't make the spectacle any less bizarre. "People thought, 'What is he thinking?'" said Greenblatt. Still, the duo received a standing ovation as Parton cracked to advertisers, "we're looking forward to many projects, so get that money out!" A year later, Greenblatt said he "can't articulate" what prompted him to make the movie deal with Parton. "It was just kind of a gut instinct, even though doing a holiday family movie with Dolly Parton probably sounded as silly as doing a live musical called Sound of Music," said Greenblatt. "It seemed like a good idea. I've known her for years, and I've done other things with her"—including producing the Broadway musical based on her film 9 to 5, which Parton wrote the music and lyrics for—"so I knew that there's a certain base level of belovedness for her." It was that same gut instinct that led to last year's upfront duet. "I wanted to do something at the upfront that was going to not only get attention, but be fun for us and for the audience," Greenblatt said. "And that was organic and seemed to be a good idea at the time, and it worked." It did, but it also became a running punch line through the rest of the week's upfronts. "Oh yeah, like Jimmy Kimmel calling me a fool, I think he said," recalled Greenblatt

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HealthiNation Tells Advertisers Its Viewers Aren’t Just Browsing, They’re Finishing Videos

May 11, 2016  |  Media Week  |  No Comments

Though it's one of the smaller presenters during the Digital Content NewFronts, health video startup HealthiNation has a compelling case to make to advertisers: Its audience is watching for a reason. Unlike some of the bigger digital players that court broad audiences, viewers of HealthiNation videos are not there to browse. "They watch the content in its entirety, and they'll watch your advertising to get to the original content," said CEO Michael O'Donnell Tuesday evening during an intimate gathering at New York's Core club. "We're in a new age of health awareness," said O'Donnell. "People are getting more in touch with their health obstacles and learning how to deal with health and fitness." And it isn't just older people who have health concerns these days or are generally more interested in health-related topics. According to O'Donnell, roughly 200 million Americans—including baby boomers, millennials and Gen Xers—are "thinking about health and fitness on an everyday basis," and they're watching HealthiNation's content longer than that of most larger publishers, he said. Vp of sales Larry Kline said HealthiNation's viewability rate for preroll ads is 78 percent, well above the industry standard of 43 percent. That figure is roughly the same for completion rate. "On average, viewers are watching 76.3 percent of the videos that they start," said Kline. (HealthiNation averages 32 million monthly viewers.) He added that HealthiNation—which has three verticals: food, fitness and managing conditions—will relaunch this summer with a sleeker, more modern look

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Veep’s Matt Walsh on Real-Life Politics and Maintaining a ‘Pristine Fiction’ on the Show

May 10, 2016  |  Media Week  |  No Comments

Specs Age 51 Claim to fame Stars as press secretary Mike McLintock on HBO's Veep (Sundays, 10:30 p.m.) Base Los Angeles Twitter @mrmattwalsh Adweek: What's the first information you consume in the morning? Matt Walsh: First thing would probably be skimming emails and checking Twitter. Your Twitter bio says you were an early adopter. How'd you get started on there? My friend [comedian] Paul Scheer was a big Twitter guy back then, and he said, "You should do it." At the time, I was promoting a TV show called Players, which was short-lived, and he told me it was a smart move to communicate to your fans what you're up to. Do you use Twitter differently now versus when you joined in 2009? I do think I track news off of it more than I used to. I remember when Michael Jackson died, I pulled that off of Twitter before I saw it anywhere else. That's when I realized, "Oh wow, this is a real news ticker." I think I [tweet] less now. I just try to write something once in a while, almost like homework. Do you listen to any podcasts? You Must Remember This . That's a good one. I listen to Krista Tippett's On Being .

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CP+B Veterans Launch New Miami-Based Agency Markham & Stein

May 9, 2016  |  Media Week  |  No Comments

Despite talk of the end of the advertising agency business model, former CP+B executives Jeff Steinhour and Markham Cronin think small to mid-sized creative shops can thrive as long as they focus on producing great creative above all else. The duo, who have more than 50 years of advertising experience between them, felt so strongly about the viability of this narrative that they launched their own full-service agency in Miami in the form of Markham & Stein. "This thing has been a long time coming," said Cronin, who officially opens the new shop with his partner today. After leaving CP+B and leading creative at other agencies, he opened his own operation Markham Unlimited in 2005. But Cronin tells Adweek, "I was spending 20 percent of my time doing the valuable part of my job for clients and the other 80 percent actually running the agency. So when the opportunity came to talk to Jeff about maybe doing this, there was no question it was something we should try and do together." Markham and Steinhour spent 10 years together at CP+B on the creative and accounts sides of the business, respectively.

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What’s Keeping Broadcast Presidents Up at Night as They Plan Pitches to Advertisers?

May 9, 2016  |  Media Week  |  No Comments

It all comes down to this. The broadcast upfronts are just days away, which means it's crunch time for the network presidents. They and their top execs will be spending the week hunkered down as they review their new pilots and make the final, agonizing decisions about which new and returning shows will and won't make it onto the 2016-17 schedule that they present to advertisers and buyers next week. All the networks have one goal this week: strengthen their schedules from this season. "It sounds so simple, but it's actually much harder than you think," said CBS Entertainment president Glenn Geller, whose network will finish the season first in total viewers, adults 18-49 and adults 25-54. "You want to make moves that are going to improve time periods, but there's the risk that when you move a show, you may hurt the numbers. But you have to make space for new shows, so you have to continue to try new things. It's a balancing act." Geller is one of two presidents making their upfront picks for the first time this year, along with ABC Entertainment chief Channing Dungey, who replaced Paul Lee less than three months ago. Not coincidentally, both new chiefs renewed the bulk of their current prime-time lineups unusually early (in March), which leaves them with fewer last-minute programming decisions to make than usual. While NBC will slip to No. 2 this season in the 18-49 demo after two years on top, NBC Entertainment chairman Robert Greenblatt is actually more optimistic than ever about piecing together his new schedule. "What I'm feeling good about this season, which I have not felt in the four or five previous years, is that we have a fair amount of shows that are working and solid. We've always been plugging holes and trying to just keep things afloat because so much stuff was failing as we tried to rebuild," said Greenblatt

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Snapchat Led the Way With Vertical Video. Will Virool Make It the New Standard?

May 2, 2016  |  Media Week  |  No Comments

Not so long ago, it was taboo to turn horizontal video on its head, as marketers grappled with doing more for mobile than merely refitting TV spots for smaller screens. But today, vertical video, once seen as a Snapchat anomaly, is gaining traction and providing publishers and advertisers with perhaps another way to win over the ever-growing mobile audience—with some 163.7 million Americans owning smartphones by the end of this year, per eMarketer. Virool, a programmatic video distribution company, is planning a vertical video ad unit called Vertical Reveal. Using a portion of the $12 million in venture capital it recently raised, the San Francisco-based firm is betting on a format that, as Virool CEO Alex Debelov and many others have noted, best matches up with how we hold our mobile devices day-to-day. "We're excited because in the last 18 months, Snapchat has been a lone wolf in this fight, but we now have the opportunity to really make this the new standard," he said. "So our vision is that over the next year, this will become something you will see everywhere, and that will provide a much better advertiser and user experience." One of the first brands to sign on with Virool is DJI, a Chinese drone manufacturer that also recently started making handheld cameras. It will start running ads in the next few weeks, as Virool ramps up its vertical debut for the second quarter. Meanwhile, a European rollout is planned to coincide with the Cannes Lions International Festival of Creativity in June. "We need to be in front of [users] in some way that's not intrusive—it isn't a banner, it isn't boring," said Gabe Chan, global director of digital brands at DJI. "So vertical video seems like a very logical choice to us and to any advertiser in digital marketing now." Rubicon Project will be the exclusive programmatic platform for Virool's new unit. "From everything that I'm seeing, we believe that there will be a lot of momentum behind this unit because of the way everyone is consuming and how marketers really want to capture that experience," said John Peragine, head of video at Rubicon Project

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With These Products, Google Is Beefing Up Its Push Into TV

April 20, 2016  |  Media Week  |  No Comments

When you do a Google search for "TV is dead," you get 338 million results. Daniel Alegre, Google's president of global partnerships, says he's "not going to be person 338 million and one." Alegre used his time as the closing keynote speaker at the NAB Show in Las Vegas to talk about why TV is alive and well and how several Google products are helping make that true. "With all the doom and gloom of TV dying, a newer version is rising," Alegre said, adding, "TV by the old definition is down, but the new TV is alive and well." Among a flurry of announcements, including that Google search will soon add live TV listings and that Google Fiber will soon expand to 11 U.S. markets, Alegre announced that Google's DoubleClick successfully tested addressable advertising during two big recent TV events: the Rugby World Cup finals on France's TF1 and the Republican presidential debates on Fox News. Alegre also announced that Roku and Cablevision are partnering with DoubleClick for Publishers for cross-screen TV and video ad serving. Cablevision's COO Kristin Dolan joined Alegre onstage. "What we're able to do with 7 million set-top boxes in the New York City area is aggregate all the viewership data, 24 hours a day, seven days a week, 365 days a year in a non-personnally identifiable way to target our audience," Dolan said. "For programmers it's very valuable." And while one-to-one addressable advertising is the future, Alegre wondered if it can ever scale. "Traditional, linear advertising is great for brands," Dolan said, using automakers as an example. "Cadillac stands for this, or Lexus stands for that. But then you can customize to the target audience—a sedan, sports car or convertible." Alegre summed up the discussion this way: "The biggest change is the elimination of the barriers to viewing. With all the doom and gloom of TV dying, a newer version is rising."

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What’s Causing Vice’s Huge Fluctuations in Web Traffic?

April 14, 2016  |  Media Week  |  No Comments

Ever since Vice decided to get into the cable TV game, the self-assured digital news and lifestyle publisher has been under the microscope. That came blaringly to the fore last month when Variety reported that Vice's web traffic plunged in February. But after free-falling 17.4 percent, from 59.5 million unique visitors in January to 49.2 in February, Vice rebounded nearly all the way back in March, drawing 58.3 million uniques. So what caused Vice's huge fall—and subsequent Phoenix-like rise—the past two months? Ironically, it was smaller sites that Vice bundles with its own traffic in an effort to boost its overall numbers for sales purposes.

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This Media Network Is Taking Its Storytelling Directly to Advertisers

April 12, 2016  |  Media Week  |  No Comments

As a young man, digital media executive JuanMa Rowland suffered a debilitating head injury. Though he didn't know it at the time, that traumatic event opened up a world of opportunity. It allowed him to recognize patterns and, he says, tell stories with more precision. Now fully recovered, Rowland, as Azteca's StoryMaker—that's his job title—is turning adversity into advertising. Through the Azteca GlassWorks content studio, Rowland and his team of 10 creators and futurists will "tell very local, very direct stories that brands want to talk about. ... It's a completely different approach of how the upfronts work," Rowland said.

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How It Feels to Go Viral, Then Watch Your Content Get Stolen All Over the Internet

April 4, 2016  |  Media Week  |  No Comments

On a Tuesday morning in December, I uploaded my late-night talk show's 449th video to YouTube, then went about my day. By the afternoon, I was thinking this one—a mockumentary called "Instagram Husband" created for our Springfield, Missouri-based show, The Mystery Hour —might be different. The next day, when it hit 1 million views, I knew it was different. And by the time the next week rolled around, I didn't know which way was up anymore. When I came up with the idea for "Instagram Husband," I had a vague sense it had the chance to go viral, because when I shared the idea with people they enthusiastically related. I thought people I know would share it, the team that helped create it would share it, fans of my show would share it, and it would be a nice little feather in the cap. I never would have guessed just how big it would become. It's hard to accurately describe the feeling of going viral for the first time. The best I can come up with is that it's like you're dropped into the ocean with stray planks of wood, nails and a hammer. As you're frantically treading water, you're also trying to figure out how to build your boat at the same time. I'm proud that we built The Mystery Hour slowly from underground hit, to television, to syndication with good, live crowds—all in Springfield. The operative word here is "slowly." We slowly built things in a nice stair-step fashion. Then, with one video, I was getting calls and emails from press around the world and from people in the entertainment industry in New York and Los Angeles

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