BY TAYLOR SOPER on November 19, 2014
Chart via Flurry.
Make-up Artist Kandee Johnson to Star in Series Debuting Next Year
By Tim Peterson. Published on November 14, 2014.
The Conde Nast of old aimed to sign star scribes like Christopher Hitchens and photographers like Annie Lebowitz. The Conde Nast of now has its sights set on YouTube stars.
To meet the content demands of its growing millennial audience, the magazine publisher’s digital-video division, Conde Nast Entertainment, has begun signing YouTube stars to wide-reaching agreements that will make the publisher the exclusive representative for the creators’ digital deals, including ad sales for their YouTube channels. As part of the deals, the YouTube creators will star in original shows to air on Conde Nast’s properties and contribute to its various publications.
The first of these deals is with make-up artist Kandee Johnson, whose main YouTube channel boasts 2.4 million subscribers and has notched 262.9 million views. Ms. Johnson will star in a number of original series to be produced by Conde Nast Entertainment. Those series will run across Conde Nast’s YouTube channels, publication sites and its streaming video site, The Scene, as well as on properties that it has syndication deals with, such as AOL, Yahoo,Dailymotion, Roku and Xbox. (more…)
By Veronica Villafañe
Posted on 04 November 2014.
Telemundo’s sister bilingual cable network is dropping the name it’s had since it launched in 2001.
Calling it a “major step in its evolution,” the NBCUniversal Cable-owned property, which until now was aimed at a young Latino audience, will relaunch as “NBC Universo” on Sunday, February 1, 2015 as an entertainment and sports network.
The rebrand to NBC UNIVERSO takes place the day that the network becomes the home of the exclusive Spanish-language telecast of Super Bowl XLIX in the U.S.
As part of its new branding, the network will use a logo that features NBC’s iconic peacock.
NBC UNIVERSO will showcase sports action from around the world, as well as entertainment, music and series that the company says will connect with U.S. Hispanics.
“mun2′s transformation into a high-demand cable network is one of our top company priorities,” said Joe Uva, Chairman, Hispanic Enterprises and Content, NBCUniversal in a statement.
In September, mun2 launched the first of 100 matches it will air of the 2014/2015 season of the Barclays Premier League (BPL), as well as the first of five NFL games to air on the network this season. Also in September, mun2 became available for distribution in HD.
In addition to the NFL and BPL, NBC UNIVERSO will partner with NBC Sports Group and Telemundo to cover four FIFA World Cup events in 2015: Men’s FIFA U-20 World Cup, hosted by New Zealand from May 30 to June 20; FIFA Women’s World Cup™ played in Canada from June 6 to July 5; Men’s FIFA Beach Soccer World Cup hosted by Portugal from July 9 to July 19; and FIFA U-17 World Cup played in Chile from October 17 to November 8.
NBC UNIVERSO also will exclusively showcase The Rio 2016 Olympic Games, The NASCAR Mexico Toyota Series and WWE programming hits WWE Raw and WWE Smackdown in Spanish.
On the entertainment front, NBC UNIVERSO will continue to develop and deliver a broad mix of original, signature and acquired series and reality shows, such as their current productions “A Toda Gloria,” “Larrymania” and “Fugitivos de la Ley.”
Blockbuster movies and music offerings aimed at a modern Latino audience will also be key programming pillars of NBC UNIVERSO. Specific entertainment programming details will be released in early 2015.
Syfy on Sunday and Monday in Orlando produced its eighth annual Digital Press Tour – a one of a kind event in television publicity and promotion that puts the network’s executives and the stars and producers of its series together with influential bloggers, robust tweeters and other digital communications experts and enthusiasts who operate outside of what might be referred to as the “traditional” press.
The digerati that attend this event every year aren’t the same people commonly found at other media press functions such as the twice-yearly Television Critics Association tours and the Upfront and NewFront presentations and parties that every year overwhelm reporters’ schedules from February thru May. Rather, these folks focus almost exclusively on science-fiction and fantasy content, a particular sweet spot in the digital space. In other words, there is no filler here. Every attendee has a following that potentially supports the programming that Syfy offers.
One of the most interesting aspects of the Digital Press Tour is the fact that everyone at Syfy from network president Dave Howe on down actively encourages the digerati to not only interview talent and producers but to shoot videos of them and take photos of them. Taking pictures at other industry press events (including those mentioned above) can result in reporters being ejected from said activities or given stern warnings. Bizarrely, the taking and posting of photos – now as common an occurrence in everyday life as breakfast, lunch and dinner – is forcibly frowned upon at many industry gatherings of press and talent. That has never been the case at a Syfy tour. (more…)
There has traditionally been a taboo against publicly discussing this stuff, but I think that’s dumb.
I have a very small YouTube network with about 15 channels (mostly owned and operated by our company) and we upload around 3 videos per day. This actually creates enough data points that we can see a pretty good sketch of the growth of YouTube ad rates since we were granted CMS privileges (don’t worry about what that means) back in 2012.
This is our CMS page, it basically just allows us to link a bunch of YouTube channels under one account and gives us the ability to claim content that rips us off. If a company claims to be an MCN, all it means is that they have access to this system. (more…)
06 OCTOBER 2014 BY STEVEN JACOBS
One of the minds who helped shape the project in its early days was Mark Goldman, a long-time television executive who served as chief operating officer for Current TV from its founding in 2004 to 2008. Before Current TV, Goldman spent a decade at Universal, helping the media giant navigate the transition into digital video distribution and enter the business of owning and operating television networks. Then in the late 1990’s, he was recruited by News Corp to develop its first satellite television service, where he ran Sky Latin America.
Now, Goldman runs ExtendTV, a demand-side video platform that specializes in location targeting. The company’s strategy focuses on helping existing broadcast and cable companies sell digital inventory to small business customers as an extension of an existing legacy advertising purchase.
Street Fight caught up with Goldman recently to talk about missed opportunities with Current TV, why he believes digital will not kill television (completely), and where he sees the local video market heading in the next few years. (more…)
Easy money, new audience appeal to classic rockers
By Andrew McMains
September 22, 2014
Led Zeppelin performing in Copenhagen, Denmark on February 28, 1970. | Photo: Getty Images
When Led Zeppelin licensed “Rock and Roll” to Cadillac for its “Break Through”spot in 2002, it was a huge coup for the carmaker, as the band had never let a marketer use one of its songs before. Fast-forward to 2014 and the group has licensed two songs—to Activision and Dior Homme—in just 12 months.
Similarly, other classic rockers with boomer appeal, including Billy Joel and Bob Dylan, are now liberally licensing songs to marketers after decades of holding out, and there’s even talk of Prince following suit. And while such longtime holdouts remain picky about the brands they deal with, clearly any philosophical barrier around “selling out” has been shattered.
The simple reason is that there’s big money to be made as traditional sources of revenue have dried up. In short, music sales are down, MTV has abandoned videos and radio is dominated by a handful of mega-pop stars. So, particularly for nontouring bands like Zeppelin, advertising has become a welcome cash cow. “Advertising has become the new MTV in a lot of ways for artists, bands to get their music out there and actually get paid for it,” explained Paul Greco, JWT’s director of music and radio.
Depending on the popularity of a song and how long it’s used, the payday ranges from tens or hundreds of thousands of dollars to more than $1 million for the most coveted songs from the biggest names, including The Beatles (whose “Revolution” cost Nike $500,000 way back in 1987), per agency music directors.
For big acts like Zeppelin, “it has got to be a big money deal. Otherwise they don’t do it,” said Josh Rabinowitz, director of music at Grey.
Beyond cash grabbing, licensing deals introduce old music to younger generations, thereby expanding a band’s audience for music and ticket sales. “Obviously, they’re making money, but it’s also putting [songs] back out there for a new audience,” said Melissa Chester, an executive music producer at BBDO. “It’s next-gen, and they don’t want to be out of it.”
Finally, there’s transactional appeal, as ad placements can cross-promote the launch of a tour or rerelease of classic albums, as Zeppelin is doing now. The graphic above takes a closer look at three recent deals.
Forbes Online, the must-read of the jet set (well, that and Highlights), has cobbled together a wonderful list of statistics that show what NMR already knows: YouTube is HUGE. Not just pretty big — the video site is friggin’ enormous with youngsters like you.
The good news about a list like this showing up in Forbes is that it gets the attention of the movers and shakers, getting them to look in your direction and present you with new opportunities ($$$$). Realistically, you should be reading Forbes and other corporation-based trade journals because it will give you insight into how the big companies are strategizing and pulling data to create crossover promotions. Here is their list of 20 statistics — make sure you go back to their site to check the statistics and make sure they’re legit. While they seem to be, we need to give you a reason to go back to Forbes.com since we just poached their list.
1. YouTube receives more than 1 billion unique users every month.
2. Over 6 billion hours of content are watched each month.
3. In 2013, advertisers spent $5.6 billion on the website. (more…)
Photo by Chris McPherson for Variety
The 26-year-old is best known to 12 million-plus subscribers across three different YouTubechannels, but he’s about to make a name for himself in film and TV, too. Dawson is directing a movie commissioned by Starz for upcoming docuseries “The Chair,” which follows two filmmakers who are given the same script to shoot. And NBC ordered a script for “Losin’ It,” a sitcom based on Dawson’s life working at a Jenny Craig weight-loss center, which he is developing with Sony Pictures Television.
“YouTube opened up a lot of doors,” said Dawson, who is repped by UTA. “It’s the best place to be discovered, because it’s something that you personally have done, rather than (you) reading someone else’s words.”
But Chris Moore, (“American Reunion,” “Project Greenlight 3”) executive producer of “The Chair,” confesses to being nervous about enlisting a YouTuber with zero experience to fashion a feature-length film. “It’s really difficult to make the transition Shane’s trying to make,” Moore said. “Bringing digital talent into this space can be very risky.” (more…)
In the 100 years since the major film studios first settled in Hollywood, audiences have never demanded more video than they do today. In the first quarter of 2014, Americans(1) watched an average of 163 hours of video content per month – 17 hours more than in Q1 2007, the year the Apple introduced the iPhone and Netflix unveiled its streaming service. Yet, despite the proliferation of content, consumption and access, the annual value of the video entertainment ecosystem has fallen in six of the following seven years.
By 2013, American household spending on non-linear recorded video had declined by nearly $5B (18%) – enough to eradicate more than a decade of growth in a category three times the size of the box office. Though the remainder, a still hefty $22B, best represents the consumer spend available to the media industry, it actually obscures the full extent of losses. After all, the US adds nearly 1M new homes a year (with the total up 43% since 1980). If we evaluate spend on a per household basis – a more accurate reflection of industry’s ability to monetize its products – the drop is even more severe. Last year, the average household spent only $183 on recorded video entertainment –$52 less than in 2006, representing a retreat to pre-Y2K levels. (more…)
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