Last week, VCCP opened a new agency with offices near St Pancras International and Paris Nord stations. At the same time, it reignited the debate about planning and the French. Namely: do they bother?
VCCP Saint Pancras is built to serve luxury and premium brands (its founding client is Courvoisier), and Adrian Coleman, VCCP’s group chief executive, emphasised combining "the best of creativity from France with top-class British strategy".
International clients had complained, he said, that strategy departments in French agencies weren’t cutting it. To this end, Coleman hired the BETC Paris creative director Florence Bellisson to be the executive creative director and relocated VCCP Berlin’s managing director, Charlotte David, to be the managing partner and the London strategy partner, Zoe Hamilton, to be the planning partner.
No-one disputes that planning was invented in England. But can it be the case that France has failed to catch up?
You might think it impossible to tackle such a broad question. Not so. Many people who would rather eat glass than be heard stereotyping entire nations seem happy to let loose on the French.
"Clichés about the French often turn out true, in my experience," one senior strategist in London muses.
"Flair and joy in aesthetics are often what drive the creative work, but the strategy tends to be a lot of adjectives. Utter bollocks, basically."
"It’s a very different advertising culture in France," Craig Mawdsley, the joint chief strategy officer at Abbott Mead Vickers BBDO, adds. "French creative teams are so dominant in what they do that planning never gets a look-in. I have employed some French planners that were really good but, somehow, they don’t get the same traction in French agencies."
Of course, some are adamant that writing off France’s planners is absurd.
"That’s like saying there are no good French directors or engineers. It’s not true," Tracey Follows, the chief strategy officer at JWT London and chair of the Account Planning Group, says. "But any planner in any market needs to be well-connected to or educated at a planning centre of excellence – which, undoubtedly, London has been historically."
But it would be easier to dismiss the argument if French strategists themselves weren’t sympathetic to it.
Jerome Courtial, the head of strategy at We Are Social, told Campaign that, when he was starting out ten years ago, he had to move to the UK because there were no opportunities for him as a strategist in France. Only account management jobs were on offer.
"I think it’s because every Frenchman thinks of himself as an intellectual," Courtial says. "We don’t like having a job that comes with the label of ‘the smart one’."
Another strategist at a top French agency, who asked not to be named, agreed: "The big difference is that strategy belongs to everyone in French agencies, which can be difficult for planners."
There are many theories about the gap between English and French planning. Russ Lidstone, the chief executive of Havas Worldwide London, puts it down to a combination of things: the greater number of multinational businesses in London, higher digital and mobile penetration in the UK and regulatory issues.
"That’s often the argument made about Cannes," Lidstone says. "A lot of award-winning work couldn’t run in the UK. The rigours of planning are so much more adhered to in the UK."
read rest of article http://www.campaignlive.co.uk/news/1295120/
who are the 500 french strategic planners ?
Wall Street banks and trading firms are known for hiring the smartest mathematicians and computer scientists in the world.
These geniuses develop complex algorithms and use the most advanced technologies to quickly make investment decisions based on vast amounts of data. Every day, billions of dollars are traded using predictive analytics that enable a high degree of accuracy and results.
This real-time, analytics-intensive model is now moving beyond high finance: It’s the future of marketing.
The marketing landscape itself has grown incredibly complex, with the rise of social networks, apps, and mobile technologies adding to the number of ways marketers need to consider in their efforts to reach target audiences. These new technologies unlock tremendous opportunities for highly personalized and targeted marketing, while driving the need for more advanced algorithms and the ability to crunch massive amounts of data quickly to deliver the right message to the right person at exactly the right time.
Adding to the complexity, marketers and developers are now looking for ways to market to consumers in physical stores or other places via mobile devices in real time based on their exact locations.
For example, a consumer products company might send a coupon to a consumer’s smartphone or smartwatch as she walks through a certain aisle in a store, based on her behavior during the visit, or a vendor might send a special offer to a traveler as he makes his way through an airport.
read rest of the article : http://venturebeat.com/2014/04/20/why-madison-avenue-is-becoming-more-like-wall-street/
It's been 10 years since "Madison & Vine," a book written by Scott Donaton while he was editor of Ad Age, called for the ad industry (Madison Avenue) and entertainment industry (Vine Street) to work together to survive the upheaval promised by ad-skipping technology like TiVo. This was to be done partly by clever product placement but more broadly through content consumers actually wanted to watch.
In some ways, the partnership between advertising and entertainment has become just as imperative and pervasive as the book predicted: There's everything from the P&G-and-Walmart movies on NBC to sponsored listicles on BuzzFeed -- and not a reality competition in sight without heavy brand integration. Subway product placement is extending the lives of TV shows that were on the brink. Millions of people go out of their way to watch videos created by Red Bull. Brands pay Stephen Colbert to make fun of them.
But in other ways, it's shocking how little has changed. "The fact is, traditional TV advertising still works," said Ben Silverman, founder and chairman of entertainment-production company Electus, former co-chairman of NBC Entertainment and enthusiastic proponent of branded entertainment. "So there's not that aggressive a move away from it."
Mitch Kanner, described in "Madison & Vine" as one of the branded entertainment's earliest practitioners and leaders, was more blunt: "People were swinging at the ball 10 years ago. You'd have thought that people would have hit by now."
Despite a lot of experimentation, few partnerships between advertising and entertainment have sparked any sort of cultural change or moved a lot of products off shelves, he said. Examples do exist, such as AT&T's work with "American Idol," which taught the nation how to text. But many other integrations seem as easy to ignore as commercials.
In April, Relativity Media announced the creation of Madvine, an in-house agency that looked to put brands in the same room as writers and producers as they develop content. One if its first clients, Evian, will be a part of the film adaptation of Nicholas Sparks' "The Best of Me," according to Danny Stepper, CEO of Madvine. He declined to share details
Embarrassing missteps like "Cavemen," 2007's failed ABC sitcom starring the Geico Cavemen, still crop up regularly to give the practice a bad name. And there's still an inherent tension in the arrangement. Can marketers and media executives actually work together, to the consumers' enjoyment, after decades of one side proudly producing the content and the other just paying the bills?
"Everyone hated the idea of bringing brands into the content," said Mr. Silverman, who has helped lead the way in branded entertainment through the production of shows like "The Restaurant" and "Fashion Star," both of which had brands at their core.
"It's really hard," he added. "You need the ability to speak the language of people coming to the table. Most people are pontificating on it. It's continuing to grow, but slowly."
Probably you already know what a persona is -if don’t check this -, and probably you, like me, build your first persona using some of the thousands personas layout you can find in the internet. But as has happened to me you’ve probably also discovered this is not easy work…
But you know, I love recipes, so here you have my own recipe to build user personas, step by step including 10 elements your persona should have.
I create this guideline with the purpose to make the process of create personas a simple fill in the blank work, so I think could be useful for you too. Let me know!
The guideline it is structured in 3 points:
Each point follows a What? Why? and How? logic to make it even easier.
“The personas are archetypes built after a preceding exhaustive observation of the potential users” (UCD method)
A persona should include:
Social and demographic characteristics.
Needs, desires, goals
Habits (consumer habits, behavior)
Must do, must never
User experience goals
Any product should have personas!. It is the most basic tool for design experience. Key to identify our real users profile, needs, wants, expectations and end up with a product/service user-oriented.
One persona is build based on several sources information: interviews with real users, analytics, marketing, customer care, etc. Bellow you have a suggested step by step path for build your persona. Recently reading Lean UX method discover and alternative path to traditional User Centered building personas method, but here I will explain only the method based on traditional UCD.
Step by Step: ‘Building your User Persona’
Here I will present the layout with the 10 elements I use at work. This layout has emerged from an analysis of many persona’s layouts and selection of the main elements we consider most useful for working. In next point 3 (elements) you will see which method to follow in order to fill in each one of the elements of the user persona’s layout.
*The original basis for this User Persona layout is a team-work developed with my colleagues: Gerard Adell, Roger Espona and Ignacio Pastor.
Now is time to fill in all the different elements of each persona. The purpose of this guideline was create some method that could be apply for different people in the team to create their personas, so we could somehow guarantee we are using a common approach, not only in the visual aspect, but also, and more important, that we are measuring the same in each case and for each element on the layout. So, next you will find each layout’s element described in details with all the variables included.
This module combine Psychographic, Demographic and Geographic profile and Behavioral profile.
Demographic profile: Like: Age, Gender, Family size, Income, Occupation and Education.
Geographic: Where do your personas live and work?. What’s it like there? (It is a small or a cosmopolitan city?)
Psychographic profile: As Social class, Lifestyle, Activities, Opinions, Motivations and Personality characteristics (see 3.2)
Behavioristic profile: It is a common marketing segmentation but we included other areas more related with the product/service, like User Type (Base on user knowledge, attitude and skills in this case about technology proficiency) and Customer behavior toward product (relationship with our products)
User type: E.g. Inexpert, Medium, Advanced, Expert. (See 3.13 User type)
Customer behavior toward products. Usage rate, Brand loyalty, User status: potential, first-time, regular, etc, Readiness to buy, Benefits sought, Etc. (See point 3.11 Relationship with…)
Persona’s Name: Give your persona a name. Use only name and initial of last name. Persona name help to use this type of statements during design process:
“This idea would work for Ken, but not so much for Diana”
“Would Joan understand what is happening here?”
Write short paragraphs in a narrative way (story based) that resume key points for understand persona life-style, background and motivations.
Personality it is a conflictive module seems exist a lot of research models and discussion about this. In order to apply a modeling that have sense for our daily work and in agile methodology, I propose a combination of two well know personality modeling: The 5 Factor model (also know as Big Five) and the Myers-Briggs Type Indicator (MBTI) based on C. Jung Personality types.
To details about how to outline personality read my post about using MBTI and 5 Factors Model.
Why measuring personality it is important?:
Based on real-users interviews use: self-reported, in-line reading, behavior and body language to calculate a ruge MBTI type and the corresponding value for the two Big Five variables used.
a- For tagging personality using MBTI we first apply a basic questionary. (See post about MBTI)
b- Include “Big-Five Openness and Neuroticism“ score. Remember Openness is an inverse scale, low Neuroticism it is positive, when high is negative.
Represent: People, brands and product that influence his relation with key indicators for your product/service. For example: internet, computers and other devices, software and app.
References: Who? People, sites, brand or products become a referent point regarding to key indicators to you product/service. For example technology and software.
Quick understand persona influences and referents, background expertise, and lifestyle.
Use images to illustrate this variables. This make information more visual and easy reading.
b- Friends: Most apps recommendations come from Clare’s friends during a coffee break.
c- IPAD: This is the most used device by Clare. Shared with her children, it is a family device.
d-Blogger: Clare has a blog where she writes about personal interest.
Archetype it is an attempt to a main classification of user using various information, as Personality, Background, Proficiency, Behavior, User experience goals, etc.
The archetypes should change depending in your product/service domain, but in the example above, for example we suggest this 8 archetypes:
Archetypes help you to cluster similar personas.
You will need to define archetypes based in your product/service. Take a look to Microsoft’s study on Multi-screening to see some example archetypes.
The key quote simulate a Persona’s comment. Pretends reflect behavior or persona attitude as user. What did he expect, afraid or wants?. Could be general or product-related.
A simple sentence that suggests “the user voice” gives impact and “veracity” to our person.
Use interview data. You can combine several real user interviews to create one quote, but try to keep the comment the most realistic possible. Only combine similar user-type and personality.
Select quotes that you consider key or most relevant. Depending on the persona characteristics (E.g. archetype and personality) fears may be more relevant than the desires, for example.
Finally add a note for indicate if persona was referring to Brand or to a specific product.
This element will change depending on the domain of your product. In this layout example ICTs proficiency is a key variable to understand our users.
This graphic representation of proficiency by domain help any reader to easily understand the persona expertise level.
First, select the variables you want to represent depending on the product/service domain. In the example we use: It and Internet / Using software / Using mobile -tablets apps / Using social networks but depending on the product related you could need to use different variables.
We split expertise as a progress bar with 4 levels. Going from inexpert to expert users type.
User experience is what the interaction with the system feels like to the users (subjectively). Some authors define Experience Goals as user’s priorities and expectations and others use Experience Goals to reflects how user feel when interact with the product.
When select experience goals for you persona try identify which of them seems most relevant or priority for that persona.
Experience goals can be define in general way or as product-related:
General: having fun, not feeling stupid or don’t waste time.
Product related: feel confident and secure with the transaction (Ej. persona using a online banking)
User experience goals help us to prioritize user interest regarding to interactive systems, this could be use for take interaction design decisions or as determinant for adding a new feature.
Use interview and survey information to define a set of most significant User Experience Goals from your persona point of view.
read the rest of this article : http://www.ux-lady.com/diy-user-personas/
All proceeds from this event will benefit Jane's NGO, The Thorn Tree Project. Panelists will include Jane Newman, MT Rainey, Lauren Turner, Rosemarie Ryan, Robin Hafitz and Merry Baskin. This event is chaired by Sarah Watson of BBH NY.
You’ve been here before. It’s 2am, your mind is asleep but your PowerPoint is awake. You’ve spent the last 15 hours working on your five slides for today’s pitch, hoping your strategy can find the balance between client brief and creative ideas. You’re exhausted, from the word wrestling and the diagram shaping, but you plan on. Do you know that feeling?
Yes, being a Planner can be a lonely journey. Especially at times of personal confusion and crisis, like not winning that big pitch, or having your ‘position’ made redundant, or not getting the recognition you feel your words and diagrams deserve. Loneliness can come in many forms.
During these dark turns we Planners can trap ourselves in silence or deny ourselves with overconfidence, leading to that big fork in the road. To the left, leave the job, to the right, fake it until someone calls the bluff. This doesn’t happen everyday, but it can happen, and what will you do if it happens to you?
The truth is, the only people who know this journey like you do are your peers. But we hesitate talking to them, because reaching out for help exposes your weaknesses in a world where today’s allies are tomorrow’s competitors.
Perhaps it’s time we created a new way to connect to each other. An option where Planners who feel the sting of being a stranger can share their support with others, who by chance may find comfort in knowing they are not alone, and not so strange after all. Something positive for Planners in dark places.
To do this free of fear, we need is an insurance policy. Anonymity we believe is the way to go. So, we would like to build Planners Anonymous, a digital space for us to congregate and share, safe in the knowledge that our identities are protected. Where we can be comfortable in sharing companionship.
But before we can make this anonymous, we need a small public display of support from the community. So we’re reaching out to you, Planners the world over, to let us know that we are not actually alone in this situation. If we get 200 backers, the space will be built and we can have another way to catch some light when we get to dark places. So please say ‘hello’ somewhere below.
Spread the Word
Committee Mission Statement
The Mission of IAB Europe’s Brand Advertising Committee is to drive brand investment into digital by providing Brand Advertisers with a reliable and trusted Brand Advertising Framework for the converging digital and traditional media environment. This Framework is a set of initiatives which includes the establishment of recommendations for Ad Formats, Metrics and KPIs across Europe and which are compatible with other initiatives around the globe. The Brand Advertising Committee is a multi-stakeholder group with global, regional and local input.
Ad Formats Stream
The Ad Formats stream aims to provide a new and attractive branding environment to advertisers including powerful ad formats for maximum impact within online branding campaigns.
In order to understand the current advertising formats landscape and diversity of the European market IAB Europe conducted a Brand Advertising Formats Survey which gathered the opinion of over 300 senior publishers, agencies and networks across Europe. The survey highlighted both currently popular formats and those predicted to have a bright future. It also identified formats being sought out by the demand side in contrast to those available from the supply side. This insight has enabled IAB Europe to create a best-of-breed suite of advertising formats – the Brand Builders.
The formats within the Brand Builders suite are blank canvases, the only prescriptive detail is the pixel dimension and the rest is to be decided on by the advertiser/ creative agency. Similar sized formats with more prescriptive detail such as the IAB Rising Stars and the BVDW Premium Ad Package can be accommodated within IAB Europe Brand Advertising Framework.
A key feature of the suite is that it offers a 16:9 TV compatible dimension (x410) with the aim of making brand advertising across TV and digital easier. By providing a 16:9 TV compatible dimension the suite is able to support in-page video advertising, which is particularly important at a time of exponential increase in digital video consumption and as video increasingly acts as a major draw for brand advertisers. By fuelling the increase of high value, high quality inventory for large scale brand advertisers, IAB Europe also envisages an increase in programmatic trading of premium digital advertising.
The Ad Formats Task Force’s next steps will focus on mobile in-page advertising formats and in-stream formats.
Metrics and KPIs stream
The Metrics and KPIs stream aims to establish what measurements would help drive more long-term brand advertising investment in digital media by better understanding the needs and thoughts of all key stakeholders in the European industry. This first step will be followed by publishing a measurement blueprint for the rich and varied European digital ecosystem.
The Metrics and KPIs stream is starting with a Europe-wide survey devised with the help of a broad group of stakeholders from the Brand Advertising Committee - Brand Advertisers, Agencies, Publishers, Ad Networks, Measurement/ Data Suppliers and vendors of inventory across Europe.
The survey aims to establish and covers the following:
• Audience metrics: how important are measures already used for other media channels, namely net reach, exposure frequency, OTS and GRPs. These would make audiences delivered by digital channels more compatible with TV or Print, hitherto staple channels for most brand/image advertising.
• Platform focus: within digital channels how important is it that audience metrics provide separate metrics for each platform (online, tablet, mobile phone) as well as a measure of net unduplicated reach across platforms
• Cross media evaluation: whenever possible should online surveys be structured so they can easily be integrated with other media or product purchase studies to create multi-media evaluation tools?
• Contact quality: in the US it has become a key issue to distinguish between served and viewed impressions – how important is this issue for the European industry? The survey aims to establish the importance of viewability and how to define what constitutes a ‘viewed’ advertising message.
• Qualitative measures: does the strength of a media brand or the editorial/visual environment have a measurable impact on the effectiveness of advertising messages? Is user engagement a key factor – if so, what is it, how important is it, and can it be measured?
• Effectiveness measures/ROI: can such measures ever be part of syndicated surveys (and if so, how granular should the results be), or will true ROI measures always be limited to proprietary studies
The survey launched in February 2014 and its results will be presented at Interact 2014. The blueprint will be produced in H2 2014.
A key objective is to ensure that we gauge the importance of these metrics and obtain the opinion of all relevant stakeholders, both the corporates mentioned above and including relevant executives in industry associations, measurement bodies and auditing companies.
The world of branded content has changed. Suddenly branded movies and TV shows are competing for the same marketing dollar and chunk of free time as everything else in the entertainment world. Advertising, in many cases, is no longer a toll you pay to watch content but is taking the form of content itself.
“Brands are realizing you have to hire experts” if you want to compete with pure entertainment companies, said Maker Studios’ Jason Krebs, who has worked all over the digital media ad world. “Procter & Gamble isn’t necessarily going to do some of these things themselves.”
And branded entertainment is vital. “If you want to reach millennials in the next five years, they’re going to be looking at this a lot more than at the spots and dots,” said Discovery Digital’s group operating officer Colin Decker, who notes that integrations are now the majority of the ads his company sells. These aren’t freebies that sneak in branding—they’re competing for brain share in the golden age of television. So what does this marketing look like, and is it any good?
read the rest of the article : http://www.adweek.com/news/advertising-branding/it-s-getting-harder-separate-advertising-entertainment-156323
PARIS, December 20, 2013 — Prince de LU (Mondelēz International) is the leading children's biscuits brand in France, Spain, Belgium and the Netherlands. For over 90 years, it has been delighting kids with its unique sandwich biscuit and its iconic character. With 64,000 tons produced in Europe every year, the brand is an indisputable leader in the biscuit market. Continuously winning mothers' trust with over 215M packs sold every year, Prince has renewed itself across the years with nutritional improvements, new formats and new flavors.
However, for the first time since its launch, it is time for Prince to take a step forward and rejuvenate the brand in order to gain in modernity, proximity and engagement while creating a sustainable and deep relationship with its consumers. Today, inspired by the entertainment industry and some of the biggest animation studios in the world, the new Prince campaign creates a breakthrough initiative that goes beyond simple advertisement.
In collaboration with Ogilvy & Mather Paris, Prince launches a new communication platform that engages all generations and that will win the hearts of children and mothers alike.
This Fall, the campaign launches on all screens: TV, web, tablets and mobile. Welcome to Princeland!
Princeland: Prince's new Kingdom
After one year of creative exploration and development, Prince launches its new campaign with a unique universe worthy of the greatest animated films. For the very first time, Prince creates a true story around its icon. New characters will accompany Prince - to build a story around Princeland. In his new Kingdom, Princeland, Prince will guide his six apprentices in their daily challenges and adventures, giving them the keys to become strong and brave princes and princesses.
We decided to enter into a new phase in which, with the help of some of the greatest scenarists, an entirely new universe was created. We leveraged the underused Prince character to transform him into the protagonist of fantastic new adventures that will empower his latest recruits and kids from everywhere.
The six new characters are:
- Rick: the dashing, strong guy, who's terrified of little spiders
- Lily: the pretty posh girl, always well dressed and ready to face any challenge
- Zig & Zag: the unstoppable twins, full of vivid imagination and energy…maybe too much
- Joe: the intrepid tomboy, afraid of nothing ... except opening her heart
- Barry: the loveable Kung Fu master, with a soft side
Prince, the time for "branded entertainment"
Prince creates a universe with unlimited potential in terms of storytelling.
"The objective was to rejuvenate the brand and to create a stronger engagement with our consumers. With Princeland, we have tapped into the Prince's strong DNA and existing equity assets, leveraging the power of the Prince territory, imaginary and values of courage and boldness in a very contemporary and exciting way" says Julie Levet, Growth Platform Leader Prince MEU at Mondelez International. "We are creating a very rich and engaging content that will definitely touch kids and mums' hearts".
"The whole creative process was motivated by the way in which the greatest animation studios work. We had to remove ourselves from a purely commercial activity, to ensure that a narrative element remained at the heart of the creative process," says Fred Levron, Creative Director at Ogilvy & Mather, Paris.
To respond to the new needs and behavior of children born in the digital age, Prince created a custom-made platform, fully in line with new digital experiences. "Our bold approach to branded entertainment aims to create a platform of rich, engaging content both for adults and children. With this initiative, the Prince brand fully enters into the modern world of 3D," says Chris Garbutt, Chief Creative Officer at Ogilvy & Mather, Paris.
This new universe is being launched through two commercials, on mobile, tablets and web at www.luprinceland.com, where moms and their children can discover the entire kingdom and all the characters' adventures in short episodes.
"We have started the journey with a commercial and today we are ready to go on to the big screen" says Karine Chik, Category Director Fuel Biscuits MEU at Mondelez International. "With this new communication platform, Prince is entering the era of branded entertainment and cross-media storytelling of the 21st century".
About Mondelez Europe
With over 30,000 employees in 33 countries and around $14 billion in revenue in 2012, Mondelez Europe is a leader in its five key categories: chocolate, biscuits, coffee, cheese, gum and candy. Its portfolio includes beloved brands such as Cadbury, Côte d'Or, Milka, Toblerone, belVita, LU, Oreo, Carte Noire, Kenco, Jacobs, Tassimo, Philadelphia, Trident and Halls. Visit www.mondelezinternational.eu
About Mondelēz International
Mondelēz International, Inc. (NASDAQ: MDLZ) is a global snacking powerhouse, with 2012 revenue of $35 billion. Creating delicious moments of joy in 165 countries, Mondelēz International is a world leader in chocolate, biscuits, gum, candy, coffee and powdered beverages, with billion-dollar brands such as Cadbury, Cadbury Dairy Milk and Milka chocolate, Jacobs coffee, LU, Nabisco and Oreo biscuits, Tang powdered beverages and Trident gum. Mondelēz International is a proud member of the Standard and Poor's 500, NASDAQ 100 and Dow Jones Sustainability Index. Visit www.mondelezinternational.com and www.facebook.com/mondelezinternational.
About Ogilvy & Mather Paris
Ogilvy & Mather is an advertising agency of the Ogilvy Group, a subsidiary of WPP. The agency's primary clients include: Coca-Cola, Dove, Europcar, Ford, IBM, Nestle, M6 Mobile, Perrier, Vittel, WWF, Prince LU and BPW-Nestea ... http://ogilvyparis.com/ Ogilvy & Mather is one of the largest marketing communications companies in the world. Through its specialty units, the company provides a comprehensive range of marketing services including: advertising; public relations and public affairs; branding and identity; shopper and retail marketing; healthcare communications; direct, digital, promotion, relationship marketing. Ogilvy & Mather services Fortune Global 500 companies as well as local businesses through its network of more than 450 offices in 120 countries. It is a WPP company (NASDAQ: WPPGY.) For more information, visit www.ogilvy.com
For more inforamtion, contact:
Kim Ball, email@example.com
Director External & Press Communications
While the OTT world is rapidly changing, Disney says it will be difficult for new players to take a commanding role. Speaking on an OTT panel at the recent Streaming Media West show in sunny Huntington Beach, California, Mark Arana, executive director for strategy and innovation at Walt Disney Studios, offered stern words for companies hoping to become the next Netflix.
"Video delivery is hard -- especially premium content. It is really hard and it's really expensive, so if you want to get into this business be prepared because there are very few successes like Netflix and like Hulu that have platform ubiquity," Arana said. "These are people that have engineering resources built in. The challenge there is it's expensive. If you're going to go with a white label solution, then it becomes challenging because how do you differentiate your product -- aside from content licensing -- from another person that's using that same white label service?"
Looking ahead to the future of TV viewing, Arana said the television will become a second screen, essentially a dumb terminal for content streamed from mobile devices.
"When you're talking about a television set or an embedded CE device…you're going to start seeing the television set as the second screen, because tablets and the interfaces that they provide are going to be much richer, much more fluid, they can be updated based on the OS features that it has," Arana said. "You're going to see big developments between iOS and Android and their UI that they have."
For more on over-the-top video, watch the full panel discussion below.
Connected Device Support: Creating OTT Apps
For a content service to benefit fully from today’s broad connected device ecosystem they must contend with an application support environment comprised of hundreds of disparate platforms, API’s and SDK’s each requiring different technology frameworks and development approaches. This session will outline current platform trends and discuss popular technologies including HTML5, Webkit, Flash and Android. Attendees will hear what silicon vendors and CE device manufacturers are doing to help content distributors facilitate device coverage.
Moderator: Mark Donnigan, GM, Dune HD
Speaker: Kerry Travilla, Senior Director of Technology, MobiTV
Speaker: Imran Maskatia, Senior Director, Product Management, Redbox Instant by Verizon
Speaker: Mark Arana, Executive Director, Strategy & Innovation, Walt Disney Studios
Speaker: Kurt Hoppe, Director, Smart TV Innovation and New Business, LG Electronics