One of the most-discussed plot twists in recent advertising has been the pivot of Direct-to-Consumer (DTC) brands to linear TV. These data-driven, digital-first players are expanding well beyond Facebook and Instagram—and becoming serious players on the largest traditional medium in advertising.
A January 2019 Video Advertising Bureau study found that in 2018, 120 DTC brands collectively spent over $2 billion in TV ads—up from $1.1 B in 2016. 70 of those 2018 advertisers ran TV ads for the first time.
But while we know that they’re advertising on TV, what may be less discussed is whether they’re succeeding on television—and what strategies they use to achieve their success.
At EDO, we have a unique and differentiated ability to measure how DTC advertisers perform on TV by tracking incremental online searches above baseline in the minutes immediately following individual TV ad airings as viewers translate their interest in advertised brands and products directly into online engagement with them.
By measuring incremental search activity across 60 million national TV ad airings since 2015, we are able to effectively isolate the effects of TV ad placement and creative decisions that are most likely to cause online engagement.
We ran the numbers on DTCs as well as advertisers in various other categories to better understand how DTCs specifically are succeeding in TV ads—and what DTCs who are considering TV advertising can do to achieve success on TV.
VidCon, the annual summit in Anaheim, CA for social media stars and their fans to meet each other drew over 75,000 attendees over last week and this past weekend. A small subset of those where entertainment and tech executives convening to share best practices and strike deals.
Of the wide range of topics discussed in the industry-only sessions and casual conversation, five trends stuck out to me as takeaways for Extra Crunch members: the prominence of TikTok, the strong presence of Chinese tech companies in general, the contemplation of deep fakes, curiosity around virtual influencers, and the widespread interest in developing consumer product startups around top content creators.
TikTok, the Chinese social video app (owned by Bytedance) that exploded onto the US market this past year, was the biggest conversation topic. Executives and talent managers were curious to see where it will go over the next year more than they were convinced that it is changing the industry in any fundamental way.
TikTok influencers were a major presence on the stages and taking selfies with fans on the conference floor. I overheard tweens saying “there are so many TikTokers here” throughout the conference. Meanwhile, TikTok’s US GM Vanessa Pappas held a session where she argued the app’s focus on building community among people who don’t already know each other (rather than being centered on your existing friendships) is a fundamental differentiator.
Kathleen Grace, CEO of production company New Form, noted that Tik Tok’s emphasis on visuals and music instead of spoken or written word makes it distinctly democratic in convening users across countries on equal footing.
Esports was also a big presence across the conference floor with teens lined up to compete at numerous simultaneous competitions. Twitch’s Mike Aragon and …Read More
Nollywood is a movie genre popularized in Nigeria that has become Africa’s de facto film industry and one of the largest globally, by production volume.
Based in Lagos, ROK film studios was incubated to create original content for IROKOtv, which can be accessed online anywhere in the world.
Actress and producer Mary Njoku—IROKOtv CEO Jason Njoku’s wife—founded ROK studios and will stay on as Director General under the Canal+ acquisition.
Owned by media conglomerate Vivendi, Canal+ looks to give Mary more production resources, without disrupting ROK’s creative chemistry.
“We are acquiring the talent of Mary,” Canal+ Chief Content Officer Fabrice Faux told TechCrunch on a call.
“We will provide administrative support, finance, and equipment, but otherwise it is our intention to give Mary maximum autonomy and creative freedom,” he said.
Mrs. Njoku’s creative work so far has led ROK to produce over 540 movies and 25 original TV series, according to company data.
Through ROK, Njoku has expanded Nollywood’s formula for producing films on low budgets, largely shot on location in Nigeria, that connect with African audiences wherever they are. One of ROK’s more recent popular productions is Ojukwu, a period series set in an 1800s Nigerian village, in which Njoku directs and acts.
“Nollywood is Africa…We tell the African story. You can bring a Nigerian story, a Ghanaian story, a South African story…we talk the same drama. So Africans can connect to the average Nollywood story anywhere in the world,” Njoku told TechCrunch.
With the ROK acquisition, Canal+ looks to bring the Nollywood production ethos …Read More
Could Roblox create a new entertainment and communication category, something it calls “human co-experience”?
When it was a small startup, few observers would have believed in that future. But after 15 years — as told in the origin story of our Roblox EC-1 — the company has accumulated 90 million users and a new $150 million venture funding war chest. It has captured the imagination of America’s youth, and become a startup darling in the entertainment space.
But what, exactly, is human co-experience? Well, it can’t be described precisely — because it’s still an emerging category. “It’s almost like that fable where the nine blind men are touching and describing an elephant.
Everyone has a slightly different view,” says co-founder and CEO Dave Baszucki. In Roblox’s view, co-experience means immersive environments where users play, explore, talk, hang out, and create an identity that’s as thoroughly fleshed out (if not as fleshy) as their offline, real life.
But the next decade at Roblox will also be its most challenging time yet, as it seeks to expand from 90 million users to, potentially, a billion or more. To do so, it needs to pull off two coups.
First, it needs to expand the age range of its players beyond its current tween and teen audience. Second, it must win the international market. Accomplishing both of these will be a puzzle with many moving parts.
One thing Roblox has done very well is appeal to kids within a certain age range. The company says that a majority of all 9-to-12-year-old children in the United States are on its platform.
Within that youthful segment, Roblox has arguably already created the human co-experience category. Many games are more cooperative than competitive, or have goals that are unclear or don’t seem to …Read More
They describe the Ann Arbor-based company as a transportation service provider. As May Mobility’s co-founder and COO Alisyn Malek told TechCrunch, they’re in the “business of moving people.” Autonomous vehicle technology is just the “killer feature” to help them do that.
TechCrunch recently spent the day with May Mobility in Detroit, where it first launched, to get a closer look at its operations, learn where it might be headed next and why companies in the industry are starting to back off previously ambitious timelines.
Malek will elaborate on what markets are most appealing to May Mobility while onstage at TC Sessions: Mobility on July 10 in San Jose. Malek will join Lia Theodosiou-Pisanelli, head of partner product and programs at Aurora, to talk about what product makes the most sense for autonomous vehicle technology.Read More
As brands pursue audiences online, they are producing more creative content than ever — particularly around Instagram.
In the past twelve months, Brandfolder‘s Brand Index (check out the full Brand Index Report at the end of this article) tracked an 80% increase in videos and other creative material targeted for the platform.
With the Instagram community being a highly engaged group, brands rely on rich, visual content to connect to them. With the proliferation of new Instagram features, like video, Stories, multi-photo carousels, and IGTV, each subset requires its own content, further inflating the need for more brand creative.
The growth in brand creative isn’t just due to audience demands, however. The shelf life of brand assets has fallen as more brands compete with other content (and each other) for user attention.
In 2016-2017, the average asset shelf life was 395 days. From 2017-2018, it was 280 days, with varying lifespans across file type and industry. That’s a 29% decrease in lifespan. Over the next few years, we predict this number will continue to decrease.
Which means, as brands are becoming increasingly dynamic and getting serious about personalization, the need for brand creative, more frequently, will continue to skyrocket in order to stay current and relevant.
To bring this to life, think about the last professional sports game you watched. You noticed one team on the field was wearing a throwback jersey with an old school logo. At a different game, they …Read More
YouTube today announced a series of changes designed to give users more control over what videos appear on the Homepage and in its Up Next suggestions — the latter which are typically powered by an algorithm. The company also says it will offer more visibility to users as to why they’re being shown a recommended video — a peek into the YouTube algorithm that wasn’t before possible.
One new feature is designed to make it easier to explore topics and related videos from both the YouTube Homepage and in the Up Next video section. The app will now display personalized suggestions based on what videos are related to those you’re watching, videos published by the channel you’re watching, or others that YouTube thinks will be of interest.
This feature is rolling out to signed-in users in English on the YouTube app for Android and will be available on iOS, desktop and other languages soon, the company says.
If YouTube’s suggestions aren’t right — and they often aren’t — users will now be able to access controls that explicitly tell the service to stop suggesting videos from a particular channel.
This will be available from the three-dot menu next to a video on the Homepage or Up Next. From there, you’ll click “Don’t recommend channel.” From that point forward, no videos from that channel will be shown.
However, you’ll still be able to see the videos if you Subscribe, do a search for them, or visit the Channel page directly — they aren’t being hidden from you entirely, in other words. The videos may also still appear on the Trending tab, at times.
This feature is available globally now on the YouTube app for Android and iOS starting today, and will be available on desktop soon.
Lastly, and perhaps most notably, …Read More