“We don’t see digital video restricted to the PC at all. Having said that, the real opportunity is in content. We are not thinking about the devices. We look at the content and then look at the platforms and devices for distribution. Programmatic buying will change the way we buy video. You may only be buying 5,000 consumers at a time. The upfront is about reaching a mass of consumers. I am not saying we are moving to a world without upfronts, I just mean that a lot of brands are beginning to understand it is about quality not quantity.”—Dave Martin, SVP Media at Ignited @ DigiDay Video Upfront
Blip is looking for a VP, Business Development to develop and execute a comprehensive distribution strategy for Blip’s expanding library of over 5 million web series episodes.
You have negotiated, closed and implemented deals with major media and Internet companies and you have the rolodex to prove it. You’re passionate and savvy about online video and have expertise across the digital media landscape with deep relationships in the industry.
You have a strong understanding of how to build an audience and brand through distribution deals and a self-sufficient, hands-on personality; you live and die by results and just want to get things done.
“Click-through rate was created in a neophyte ad world dominated by display and search,” according to the video ad platform [Vindico]. “It should play a small part in measuring the success of a video campaign alongside other more powerful measures, like completion and engagement.”
Rather, advertisers should evaluate a range of variables when evaluating performance, such as whether their video ad ran as in-banner alongside content or “below the fold.” These situations would likely account for high impressions with low CTR as viewers are most likely not viewing the ad when it’s playing at the bottom of a page.
Video ads placed during long-form content had a higher completion rate — 88% — than those placed with short-form content, 76%.”
There are valid arguments that a web series should not be just a short TV show. I personally think it depends on the story you’re telling, but utilizing the web’s inherent interactivity in serialized web video is a proven component of building an engaged audience with online content.
Whether you argue that a web series should or shouldn’t be like TV, I don’t have a single argument why web series creators can’t use their skills to make an actual TV show. As with music videos in the 80’s and 90’s, web series provide an excellent training ground to hone skills used in longer form traditional film and television. With long form content being developed in house by Hulu, Netflix, and others, I felt the timing was right to test those waters. The result is the assemblage of a team of some serious web series heavy hitters to create DRIFTER.
The latest addition to OMFGeek’s content slate, Drifter is a half-hour, television format sci-fi pilot shooting in July.
When I founded OMFGeek in October of 2010, I didn’t intend to be a television production company. Our focus is and has been on web original content. There is, however, a portion of the industry moving towards long form content and when I thought about it, it’s a logical step for the industry.
It’s far too early to say where Drifter will ultimately live. The pilot will make the rounds, and we will pitch it to traditional and broadband networks alike. However, the TV format itself has advantages and I’ve always believed the episode length restrictions on web series were completely arbitrary. Short form is a web tradition mostly because of technological limitations to web video that no longer apply (and haven’t since the mass adoption of streaming video and broadband connections). The second limitation is audience expectation, which have been evolving (no one expects a Simpsons episode to be 2 minutes long just because it’s on Hulu instead of Fox). The third limitation is budgetary, and that’s where I think this project is on the bleeding edge of the curve in the industry financing experimentation Hulu, Netflix, and Amazon (for a start) are developing.
Premium quality, TV format projects are easier to monetize online than their shorter brethren, create a better sense of audience familiarity, and for the creator, having the extra time to let the story develop can be crucial.
Plus, let’s face it: while there are web series with 6 or 7 episode seasons to be proud of, traditional TV can look at those and say “Great! We do your entire season every week, 24 times a year”. The web series is an unformed, variable, and undefined user experience that more often than not leaves our engaged audiences feeling like they had a snack, not a meal.
Not every web series can or should exist in a television format, but that doesn’t mean none of them can, or that it’s not a natural format for web-born creators to work in. We’ve all grown up on 30- and 60-minute programming, and those stories have an ebb and flow and language tied to those run times that feels very natural after years of exposure to them. Whether Drifter ultimately ends up on TV or online, it will become (along with Hayden Black’s Goodnight Burbank and Josh Bernhard and Bracey Smith’s Pioneer One) among the first shows by web creators to consider the standardized TV format and ask, “why not?”
Lots of very valid points here! On demand viewing has changed the way people choose what they watch. Audiences are increasingly relating to their favorite shows by discovering, subscribing and recovering those shows directly. They don’t relate to ‘watching shows on FOX’, but they know how to find The Simpsons. This behavior levels the playing field for all shows, whether they’re on cable, on Hulu, Netflix, Blip, Yahoo!, AOL, or YouTube. I’m excited to see the Drifter pilot and kudos on thinking big!
“Each ad skipped costs the viewer $.10, which is automatically deducted from their pre-funded account. When an ad is skipped, the advertiser receives a credit from the publisher who is paid a percentage of the viewer’s fee by SkipIt.”—
I applaud SpotXchange for trying to come up with creative solutions for preroll. But they are solving for the wrong problem here. As is anyone jumping into the “skip this preroll” game.
We should be figuring out how to make preroll ads better vs. creating mechanisms to avoid them.
We like commercials. Well, we like good commercials. We also like to be marketed to. Advertising works when great creative, solid targeting and respect for the consumer are combined. All too often - especially when it comes to preroll - this does not happen.
Those of us in digital video - particularly those on the advertising side - need to work together to make preroll better. Advertising can - and should - always be additive to the content experience. A great example of media doing this right is fashion magazines. When polled, readers of fashion magazines often cite the ads as part of the experience of enjoying the magazine. The ads add to the experience of the magazine.
We need to get to this place in digital video.
Here at Blip we’ve done a number of things to make the preroll experience additive to the content viewing experience. First and foremost we built Blip Creative Services, a fully-functioning creative agency within Blip. This team works with our clients to build custom ad units and custom video experiences.
Blip Creative Services has spent a lot of time developing unique preroll formats. They have created a number of preroll enhancements and interactive features that engage the viewer but more importantly respect their time. Most viewers are savvy enough to understand the value proposition of free content: they can enjoy Blip anytime, anywhere and always for free and in exchange they need to watch a preroll. But it’s on us to make that preroll experience worth their time.
This is what is lost on many in the ad world today. Products like SkipIt are simply the latest entry in a grand race to the bottom.
Content creators work very hard to make their content compelling. The same ethos should apply to preroll. Instead of all of these smart people figuring out ways to let consumers skip preroll we should be thinking of ways to make preroll better. In the end this will add far more value to the digital video ecosystem.
We get a lot of criticism about being outdated and behind the times, but what could be more up to the minute than Facebook and Twitter?
We’ll use our proprietary techniques honed over decades of convincing people that our people meter numbers were accurate to now convince them that the numbers derived from Facebook and Twitter mean something.
And we’re not done yet. Our research labs are already at work on incorporating online poll results and P2P download counts in future ratings measurements.