The new store allows users to control which channels appear on their TV screens, but the move also positions Roku, which has built a business on set-tops that deliver Web-fed video to the TV, to eventually sell content directly to its customers.
Roku says it will add new channels automatically as they become available. Developers can create a channel for the Roku Channel store by creating an application that uses the company’s free software developer kit.
Blip.tv , which distributes niche Web series on its site, is the biggest video brand included in the channel expansion. Some of the new channels focus purely on the sharing of photos through social networks, includingFacebook Photos, Flickr , and FrameChannel.
Roku, which plans to add new channels automatically as they become available, is an over-the-top Internet video provider that relies on cable modem and DSL high-speed Internet connections to deliver Internet video content to televisions that are hooked up to one of its set-tops, which range in price from $80 to $130.
“You have a central question that asks a yes or no answer — this is the entire idea of your show/screenplay/whatever. Will the boy be able to come back from the past (Back to the Future)? Will Will Smith & Co. stop the alien invasion (Independence Day)? Will sport Asian people successfully drift (Fast and Furious: Tokyo Drift)?”—
Yuri Baranovsky is funny guy and I couldn’t resist quoting this passage. Despite making with the jokes, this is a very useful post that should be read by anyone making a web series. So useful that I’m going to link to it on blip.tv’s support page.
While the captioning is in its infancy, it’s already associated with National Geographic, providing an immediate educational resource. The speech recognition technology that can generate the captions will also improve video search capabilities, allowing educators to more quickly find relevant materials and discard the junk that also likes to inhabit YouTube.
The blip.tv sales team has been crushing it. So much so that for the first time in our history we’re set to serve an ad for every single available impression on almost every show that’s opted into advertising on blip. The only exception? Postrolls. We’re not going to be serving very many postrolls. So you’ve got to be opted into preroll and overlay in order to take advantage of our sales team’s crushing it.
Advertisers include Best Buy, MetroPCS, Chili’s, Toyota Scion, Canon, Nikon, The History Channel and the National Highway Traffic Safety Administration. And more.
This means that it’s time for show creators to opt into more advertising formats and take other steps to maximize their revenue. Because there’s money to be had! There are shows on blip who are already using blip ad revenue to help pay the rent and even live on. Results will, of course, vary. Some shows make only a penny. Other shows make tens of thousands of dollars.
So read Optimizing your show’s revenue on the blip.tv support site. Then go and opt into preroll and overlay ads. There are high quality, high paying ads available for you.
Sezmi aims to provide a more personalized, Net-savvy, inexpensive alternative to cable and satellite–complete with the real broadcast and cable channels you can’t get from Apple TV, Roku, or Vudu. It does so via a 1TB DVR/set-top box that provides access to three types of TV sources: broadcast stations, cable channels, and Internet content. (It snags the first two kinds over the air, via a powerful antenna in a box that looks like a loudspeaker: Sezmi simply grabs local broadcast channels as is, and the company is leasing spectrum from local broadcasters to transmit cable channels
Wouldn’t normally self-link, but come on… “The paradigm of network TV was set up in the ’30s and ’40s,” says Hudack, who oversees a New York staff of 20. “We’re taking it from a linear economy of scarcity to an Internet economy of plenty.”
I’ll stop being obnoxious now. Thanks, Hollywood Reporter!
The core of the issue is this: the TV buyers have 50+ years of econometric modeling history that tells them if they buy X amount of GRPs or TRPs (Target Rating Points), it will generate Y in return. Everyone acknowledges that there are major flaws with this methodology, but are, for the most part, resigned to it; accepting it as the best we’ve got.
As video expands to other platforms, including online, digital out-of-home, and mobile, there’s a natural desire to take that same metric and apply. But doing so fails to account for the unique attributes of these new digital delivery channels — things like interactivity, ratio of ad clutter to content, dynamic ad serving, and so forth.
I’ve already talked about how online GRPs are not the answer. Not only are all screens not created equal, but there is a big difference between seeing an ad inserted into Lost on Hulu and an ad on a monkey video on YouTube.
Or the powerful custom integration and white label content executions that sites like blip.tv can produce. We’re seeing record interaction rates as we get better and better at figuring out how to make awesome digital video ads that WORK.