be clear about trans-media navigation… “the new yorker” magazine is… “wired” isn’t…

(eyeball time: 45 seconds but you might read evelyn woods wicked faster…but if you eyeball the funny great video add 2.2 minutes…)

full disclosure: we have no business or commercial interests with the new yorker magazine or conde nast. wish we did though! this is an independent assessment.

the dea skinny on what’s happening:

www.newyorker.com

when we think of trans-media we tend to overlook the amazing traditional magazine space moving onto tablets like the iPad and others. it is exploding. this is the quintessential new wild west for trans-media coming together with text, image, video and games. but the navigation user experience metaphor is up for grabs. many think that wired magazine made the first best new effort at designing the new tablet magazine. we find it as confusing as a rubik’s cube to navigate and read. and that tends to get average readers hostile to content and drives advertisers crazy as well. the iPad navigation experience design metaphor in wired is just too cool for school, convoluted as a table of periodic elements and well, a pain in the ass, although their web site is fine. on the iPad or other tablets, wired is tired in trans-media or at least, tiring and exhausting to experience.

comes the new yorker magazine iPad app.  they get it. well, why wouldn’t they? they have managed to port their content perfectly, giving it that classic new yorker magazine look and feel. it is easy to navigate and the ads and the editorial content all work together. just check out their  “department of explanations” video when you download your subscription. you will see what we mean.

the stakes:

one of the newest biggest spaces and places in trans-media for traditional magazine advertisers to place ads is on tablets. duh. we know you know that. the adoption rate is exploding and the venue is tailor made for a new style of “reader” experience. the wall street journal has gotten the user experience navigation mostly right (yes, it is also worth paying for!). so has the washington post.  the new york times is a rich site in terms of content and media assets, but still has a few miles to go in improving navigation, but they are close. and check out all your fav magazines. martha stewart living has totally nailed it, as usual. but we expected that. she is the queen of trans-media and was before anyone else. it is no accident her holding company is named martha stewart living omnimedia and was named that before anyone got trans-media.

the dea takeaway:

for content/tablet development people: get the navigation metaphor right. make it simple. the rules are similar when a traditional print reader transitions to your new tablet version. be gentle with them. don’t go crazy with vertical/horizontal sideways layouts just because you can. the conventional metaphor which seems to be winning now seems to be a simple left-to-right scrub pan with in-depth reading top-down scroll. ads should be nested throughout…and not left as an “add-on.” imitate the new yorker magazine if you want to keep life simple.

for advertisers: in seeking advertising venues with traditional print-going-to-tablet publisher offerings don’t rush into any magazine or newspaper ad space if you don’t feel the navigation makes sense. ask their team about views, placement and your fav metric, CPM. do what works best for your brand. also consider doing video for your ads. the view rates for video dwarf everything else.

for more information, please contact us at 512.825.6866 to discuss the issues more fully and the specific impact & implications to your business. it’s free!

creating fun branded trans-media content for mobility: Tocquigny’s TripCast™by Jeep®

Tocquigny's TripCast™by Jeep®

(eyeball time: 2.5 minutes but you might read faster…or longer if you get into the cool video clip…)

the dea skinny on what’s happening:

http://www.tocquigny.com

check it out… it’s Jeep®’s first iPhone application: TripCast™, a trek-tracking, geo-social sharing utility which leverages iPhone as a mobility platform using all its bells as whistles for Jeep® branding purposes. Check the vid now… please…or else you won’t know what we are talking about below unless you are a savant or swami with powers none of the rest of us have… more below…

a lot of advertising or interactive agencies talk the trans-media talk but few know how to do it. Comes Tocquigny, an amazing austin-based full service interactive, social and mobile marketing firm. they get it on pretty much everything and are creating very innovative trans-media campaigns and solutions to enhance brands.

o.k., more on why we love this iPhone app…

1. this is what great product branding is all about

Tocquigny ‘s TripCast™by Jeep®  fully leverages apple’s iPhone as a mobile entertainment platform for the Jeep® brand… Jeeps® are about adventure. but you knew that. while it is true that you can make a social statement pulling up in a tuxedo or ball gown in a Jeep®  for valet parking at the next met ball in nyc, Jeeps® are more about, well, like taking an adventure trek someplace. to swipe another product’s motto: “share the fantasy!” mobility can also be about adventure, travel, maps, social networking, personal videos and photos…they all are fun and…you got this by now…so are Jeeps®!

that appears to be the general logic behind Jeep’s® TripCast™, which enables you to share and broadcast your trip, via twitter and twitpic to friends and family as a well as map your trip data in real time and listen to iTunes music. you can also store your trip for all kinds of Jeep®-like adventures which are part of the Jeep® “adventure experience” brand: kayaking, biking, and hiking. TripCast™ by Jeep® is a part of a new form of socially branded entertainment emerging in the marketplace. you don’t need a Jeep® to use TripCast™  so it is subversive the way the best advertising always is…it gets you thinking life might be more fun owning a Jeep® having an “adventure experience” parked in your driveway, available on demand . [note to don draper: that is great creative branding.] the trans-media entertainment experience is synonymous with the brand. the iPhone application features leverage the brand and the mobility concept wonderfully in an integrated way.

2. leveraging trans-media content with the mobile platform’s features

most iPhone applications are “hi! I am an application. I happen to be running on your iPhone. but that is just because i can.” true, there are thousands that leverage one or more aspects of the iPhone’s features but most don’t. Jeep’s® TripCast™ goes the extra mile using features built into the iPhone in a broad and deep way most others don’t: real time mapping, the iPhone camera, video, connectivity to facebook and twitter/twitpic, music from the iTunes store and mash ups with gowalla and foursquare’s technologies which run on the mobile platform as well.

3. showing how powerfully trans-media can work for mobile

it is sad but true that most brands simply “get on facebook” and think they are done. they don’t think about how they can leverage their brand  features with the features of the platform with which they are working. the core qualities of what their brand is about…in Jeep®’s case, a mobility metaphor. obviously, Jeep® is a synergistic [sorry, bucky, we had to use that word] brand for mobility. that is what a car/truck/SUV does. it moves around places. like a mobile phone, it is the essence of mobility. Tocquigny’s creative genius was putting these concepts together and expanding the Jeep® adventure experience metaphor into “adventure entertainment tools” linking the brand with the application they built and on the technology platform where they placed it.

the stakes:

according to the latest pricewaterhousecooper’s “2010 global entertainment and media outlook,” the wired and mobile global advertising market will be $66 bb in 2010 and grow at a compound annual growth rate of 11.4% over five years to $103 bb US in 2014. While not the size of exxon’s annual revenues these days, when viewed as a single segment of the worldwide advertising business, it is impressive growth, second only to video games. Anyway, nothing to sneeze at in the world of digital entertainment.

the dea takeaway:

1. brand managers and agencies

get with the trans-media program even more than you are. but don’t get all gimmicky on us with all kinds of gizmos and silly ideas. a good place to start is to think about trans-media venues, platforms and features which would lend themselves well to your advertising brand. then carefully and deliberately map your brand’s core qualities to the target market experiences you can provide and then pick the appropriate content and platforms for them the way Tocquigny did for TripCast™ by Jeep® by selecting the iPhone for a mobile application. make sure they are compelling, aligned with the brand and useful.

2. partner up

you know a lot but not everything. depending on who you are, figure out your ecosystem and do what you do best. if you are a brand manager, find a great agency who understands branding, trans-media, content and technology. if you’re an agency, find people and companies that know how to integrate facebook, foursquare, gowalla and iPhone apps together with content, video, phone and photo assets. if you’re area a content management company, find ways to create, manage and publish content easily across platforms with easy-to-use content management templates (like multiple mobile phone types from different companies, in this case). if you’re a network player, built a value-added services layer into your service architecture to allow closer integration with your mobile partners be they phone manufacturers or content providers… but nobody can do the whole mash up themselves. although it’s getting much easier…

3. the mobility opportunity and its core characteristics

think about all the ways you can leverage the fundamental qualities of the mobility experience…ask yourself some of these key zen mobility questions to get started, add to the list, then work yourself back to the pieces of your puzzle… your brand, your digital venues, your content, and the platform features you can leverage, etc. once you have locked onto some initial creative concepts…you are on your way…

mobility questions

for more information, please contact us at 512.825.6866 to discuss the issues more fully and the specific impact & implications to your business. it’s free!

the kids are all right… the new trans-media audience

(eyeball time: 2.5 minutes but you might read faster…)

the dea skinny on what’s happening:

trans-media is a trendy word destined for the dust bin of history like convergence and new media… unless content producers, advertisers, brand managers, ratings and survey companies, services and hardware and infrastructure players….basically everybody… start to get it and embrace the new nature of audience experience. something is going on and you don’t know what it is…do mr. jones? traditional media audiences have left the building for several years now and are having radically different digital entertainment experiences. brand managers, media buyers and advertisers, who are spending billions on shrinking audiences, can’t measure the new audience behaviors so they continue to spend on traditional media like television. but audiences are watching across media…in different locations (thanks to mobility and smart phones) and multi-viewing and interacting on a simultaneous basis…ah hem… it is a trans-media audience experience. and nobody really understands what is happening and operating on old business models. at least that is what our new research shows at the digital entertainment alliance.

youth audiences, in particular, are not watching television on set top boxes anymore mr. nielsen, so watermarks which you hoped would streamline the old audience logs won’t help much in measuring anything but old fashioned tv. sell that idea to mad men’s don draper at his new agency…if you can.

the stakes:

billions of dollars. again. simple. in the 1960s, audiences had pretty basic experiences. not many tv channels, no cable, no internet…blah blah blah. don draper woke up each morning in the good old days when still married to betty draper (and when he was home) read newspapers, listened to the radio and watched films or tv for a few hours a day. that was pretty much his “entertainment day.” here’s don draper’s audience consumption experience on a 24 hour basis…

Don Draper's Audience Experience in the 1960s (c) the digital entertainment alliance llc

sometime in the early part of this decade, traditional broadcaster and other media content providers, a well as advertisers and brand managers, started seeing their traditional audiences shrink, fragment and, in some cases, disappear. one of the dominant theories at the time was that they were simply spending more time on the internet. many agencies conducted studies to understand what was happening on the digital side of their businesses but television media sales and the audience assessment and measurement parts of their business could not track anything more than interactive statistics (e.g., click though rates, etc.). all assumed it was simply internet interaction experience and walls of data was produced. but the audiences still shrank and shifted.

the digital entertainment alliance has conducted research in this space and discovered that something entirely different is occurring. we have looked at what college kids are doing, run 24 hour time logs and found a number of things.

• typical college kids have 3-5 multiple and simultaneous concurrent audience experiences throughout their 24 hr. days
• their experiences vary widely by content type, technology platform, and location
• based on the activity, each media experience has both extremely long (3-8 hrs.) and short duration across a 24 hour clock.
• they “mash-up” their entertainment experiences and are quite comfortable leveraging disparate and fragmented experiences together
• their current, almost a.d.d./a.d.h.d. audience experience patterns which may well persist into later adulthood. audience experience may have morphed and mutated forever.

The Kids Are All Right - Audience Experience in 2010 (c) the digital entertainment alliance llc

the dea takeaway:

there are too many implications and takeaways.

for content producers, you should develop content for an audience that is multi-tasking as they watch. think about strategic partnerships with players in adjacent spaces and look for trans-media ways to share your content or story across media.

for brand managers, you should insist that your large media spends are accounted for by your agencies and make sure they don’t simply stovepipe you into television spends, for example, principally because that is all they can measure (or web interactive.) insist that they address the problem holistically. acknowledge that even though we are in cost-cutting times and nobody wants to do risky things, work to develop viable performance metrics. this is a huge opportunity area of epic proportions.

for advertisers, start breaking down your organizational stovepipes and listen to some of your more visionary digital people….but only if they are talking about the whole picture. spend money researching new audience behaviors and develop case studies.

for service and infrastructure players, make sure you build out comprehensive services across platforms. yes, an open architecture is a beautiful thing (but most television sets and dvrs have 3 controllers) so don’t hold your breath. work supporting disparate standards will be a reality while you attend endless meetings to discuss open standards and solve world peace. be realistic and focus on solving your part in the overall puzzle…deal with what you can control. that’s was steve job’s approach and it worked for apple!

for more information, please contact us at 512.825.6866 (voice o text) or email us at bhollyman@digitalentertainmentalliance.com to discuss the issues more fully and the specific impact & implications to your business. it’s free!

e3 and the future of gaming (for maybe the next 12 months or so ;-)

(eyeball time: 3.0 minutes but you might read faster…but if you check the cool video links which take forever to load…god only knows… you are on your own…)

e3 los angeles 2010

dea is LIVE FROM E3 in la

the dea skinny on what’s happening:

http://www.e3expo.com

in case you didn’t get the tweet, e3 is the big momma of all industry gaming shows in the usa. every major game developer, hardware platform provider and distributor shows up at this huge industry show in los angeles each year to show their wares. this week, we attended e3 and notice several longer term patterns in the video game industry. overall e3 looks like a 1950s automobile show in detroit. mostly all men with scantily clad blonde barbie dolls doing demos. ironically, women are the fastest growing segment of the gaming market but the testosterone geeks don’t get this in the industry. (check out www.womeningamesinternational.org) and because we are americans, the shooter/killer games rule. but there are amazing new directions starting to emerge (check out the flower video and interview with kellee santiago, ceo of thatgamecompany in our video gallery…that is where it is going!)

what is most notable also was the absence of zynga, the popular facebook provide of social networking games like farmville, mafia wars, etc. this show is very old school, mainstream industry, brought to you by the entertainment software association.

also duly noted as missing-in-action were all the mobile game players – publishers and cell phone, tablet and mobile device industry players. just not there and they represent the fastest and largest gaming platforms out there…according to the un’s itu, there are nearly 5 billion mobile phones worldwide. and not a single vendor of note at e3!

1. major publishers continue to take names and kick ass with mega titles in hd

you need to see the new games being rolled out..they look like movies you control. take the time and click on some of the links…(the commercials are a pain but the demo’s worth it) the use of hd tcnology makes old time game look obsolete. we are on the primitive edge of full simulation machines. check out lucas star wars II: force unleashed, (you remember the film maker…now games are his main activity), activision’s call of duty: black ops, or square enix’s the third birthday (featuring a new woman here ala lara croft but realistic). Yeah, they are all killer games but that misses the point about the technology and the direction simulations are taking. reality is really real these days…

2. user interface experience is morphing

ok, so the big headline at e3 is microsoft’s xbox 360 release today of its new interactive user interface called kinect (project code name “natal”). this is redmond’s answer to nintendo’s wii interface except it is more revolutionary….no devices! users simply move in front of the set and infrared sensors pick up movement and are incorporated into the game. it is pretty primitive  today but one can see where this is leading. sony playstation 3 is appealing to hard-core gamers with 3d technology although the jury is still out on 3d displays (due to side effects of headaches, etc.) and tv content producers and networks are dragging their feet on 3d programming which will affect adoption. but these are the first primitive steps into immersive user experiences at low price points (kinect is $150) and have deep implications across all industries for applications involving interactive use experiences from product sales and customer experience to education.

3. the network is the game not the box now

“the network is the computer” sun microcomputer’s then-ceo and founder scott mcnealy prophetically stated well over 30 years ago. well, it is true now. the game console is slowly going the way of the doodoo bird. even giant activision get 70% of it net operating profit games from non-console games. new companies are rolling out network device independent online gaming platforms where you simply buy a subscription for multiple  gaming experiences, much like buying a movie ticket. check out onlive.com for an example of one of the new players….and they are cross-promoting with at&t…why? because scott mcnealy was right. online gaming has HUGE implications for network providers as well as all pc and chip makers…

4. the asians are doing amazing things but the gringos don’t get it (as usual)

ironically, the biggest publisher at e3 is a korean company named nexon. they dwarf everyone else in terms of users and represent the future of the gaming, social networking, promotion, advertising, micropayments, branding and the attendant infrastructure for years to come. how big?  try this: today microsoft brags it has 20 m users worldwide on xbox 360. nexon has a huge portfolio of “free to play” games (you play free games and make small payments of $1-3 us for accessories like clothing, cars, etc.) one of their games, dungeon fighter has 200 million subscribers and 2.5 million simultaneous users. their second biggest title maple story has 100 million subscribers with 1.5 million simultaneous online users. american game executives right this off saying it is china which is in one time zone and doesn’t matter. hey dudes, the world is flat and nexon is making billions of dollars and growing exponentially in a market whee us gaming was down 10% – 20% and it wasn’t the recession that did this. wake up and smell the coffee you auto-centric americanos. to dismiss this under the banner of different cultural adoption and usage patterns misses the point completely.  you need to get out more and see the world. something is going on and you don’t know what it is…ok…rant over…you get the point. asia is driving gaming innovation ni this space. check out tainengmiao.com, d2home.com, and cddmb.cn to get  a sense of this. there is a major game industry in chendu, sichuan province and all over china, as well as nexon’s native korea.

the stakes:

huge. billions. and the biggest thing is that the us gaming industry is a laggard. there are major opportunities in all segments for layers within the traditional gaming inustry and outside it….advertisers, sponsor, hardware and communications infrastructure and more…in all the categories above.

the dea takeaway:

1. major publishers continue to take names and kick ass with mega titles in hd

the increased use of high rez image and motion means major opportunities not for just chip makers like intel, amd, and nvidia, but also for all processor-related industry players at the hardware level. for network service providers it is a double edged sword..more revenues for more bandwidth-management players like cisco (good) but more major capital spending for players like telcos such as verizon, at&t, sprint, t-mobile, etc. (bad for telcos but good for cisco).  for content players like major film studios, there are obvious trans-media tie-in’s and licensing plays (see “prince of persia” piece we did on this). ditto for brands, advertisers, etc. and there are myriad niche service and digital advertising integration lays as well too numerous to go into here.

2. user interface experience is morphing

this area is very exciting and has deep implications for game industry developer and hardware and chip manufacturers. but the largest and most interesting opportunities lie in adapting his technology for new customer experience and cross-industry applications. imagine an atm or online service experience where you interact virtually as one of a set of optional user interfaces. microsoft’s kinect (based on the root words ‘connect’ and ‘movement’) says it all. citibank already uses video conferencing at its drive through branches. this could be the next wave and applied for many net-based interaction applications. 3d…not ready for prime time.

3. the network is the game not the box now

game over. the net wins. if your business is console based, those thin, cloud-based client interfaces spell the inevitable day your consoles will not be needed except as game controller interface hardware devices and that, my friend, is a zero-margin business over the long haul. with all respect to everyone from activision to ubisoft, get in gear to transition. this has radical implications for our product distribution strategies. now you can go distribute directly over the net to millions of subscribers worldwide like nexon already does and cut out your distributors! it is a scary world out there! the network providers need t be ready for this growth and for mobility, in particular.

4. the asians are doing amazing things but the gringos don’t get it (as usual)

hey, get out and get educated. book a trip to china, korea, japan, and india. ’nuff said. monitor developments in these countries even if it is difficult and things look too “hello kitty” for you at times. hey, we told you about nexon. this is truly where the innovation is taking place, not the usa. we will try and help there also.

for more information, please contact us at 512.825.6866 to discuss the issues more fully and the specific impact & implications to your business. it’s free!

why “prince of persia” matters (and why most movie, tv and brand people don’t get it but need to…)

(eyeball time: 3.0 minutes but you might read faster…unless you give yourself a.d.d. hyperlinking your way through this)

prince of persia

the dea skinny on what’s happening:

http://www.disney.go.com/Disneypictures/princeofpersia

prince of persia, the $200m us movie released on may 28 was rapidly panned and summarily dismissed in david denby’s recent uberkultur “pass the grey poupon mustard please” movie review in the new yorker magazine for being a simple, mechanically-executed video game on film.  “parkour.” cool reference. duh. that is the whole damn idea. and, yes, it didn’t “pop” with opening weekend box office numbers of only $30m us. but it has already grossed $220m us worldwide so far.  so what?  it is a giant movie plug for the popular game series namesake franchise from ubisoft games. in this context “art is just a guy’s name.” this is business. to pan the movie is to completely miss the point of the producer’s objectives: to sell multiple trans-media licensing deals into a much larger gaming market than just the ” blockbuster” feature film market. and we have two other words to explain why it is important: “jerry bruckeheimer,” the legendary hollywood film and tv producer. and, well, another word: “disney,” as in distribution.

the stakes:

billions of dollars. simple. we get that there have been many blockbuster franchises built in the past from “starwars” to “the matrix” and everything in between and many had moderate attendant video game success at best in many cases (although cameron’s ubisoft video game “avatar” has flopped thus far but with film box office like its film counterpart, who cares?). but those were feature film-content driven plays, not game-centric and video game-industry driven.

there is history here. years ago, “lara croft tomb raider” was one of the first popular games to be translated into a feature film series with angelie jolie playing lara in her specially constructed bustier. so let’s look under the hood at the lara croft numbers: the feature films did roughly $430 in box office alone but the video game is still being played by some fanatics long after the movie screens have gone dark for lara on a daily basis, for hours at a time. that is the beauty of a game franchise. dwell time. persistent experience. repetitive experience. locked “eyes-on-me” eyeballs for hours at a time.

but that was then and this is now. today the feature film industry is dwarfed by the video game industry, when online and “free to play” is included, and is conservatively guesstimated to be a $60b us worldwide industry in 2009. also keep in mind that the entire US film industry is only $40b us. That’s 1/5 the size of exxon oil’s annual revenues ($200b us/annum).  so film is a small industry which gets a huge amount of attention. in fact, from jerry bruckheimer’s perspective, it is a mere product segment of his global business.and that is why jerry bruckheimer is jerry bruckheimer and disney is disney.

what is interesting about prince of persia, despite its poor opening bo numbers, is that represents an open hollywood acknowledgement, once again, that the video gaming industry will ultimately be exponentially larger than the traditional feature film industry. and the licensing deals associated with cross platform gaming deals will be huge involving product placement, complex licensing, marketing and product sponsor tie-ins and multiple revenue streams. and these go across what we call “persistent context channels” – content venues which get consumed multiple times over time. while movies get viewed once, on average, video games are played multiple times over a period of years. and that is why jerry bruckheimer is a smart and very successful producer: he is creating trans-media product and advertising venues across and number of channels for advertisers, product brand managers and well as gaming technology platform players like pcs, sony playstation3, mircosoft’s xbox 360, and online.

the dea takeaway:

if you are a content developer in film or television it is obvious you should look for trans-media content opportunities based on already proven game franchises. although many transplants have failed (e.g., microsoft’s “halo“) picking properties which have deeper character potential with deep game play will succeed more than mere game play features. but the bigger opportunity is platform licensing deal tie-ins. while it is unlikely you will get a piece of the game platform revenues, there are many product placement and webisode potential tie-ins. especially with tv series and a multi-channel platform for distribution like hulu.

if you are a video game producer, start thinking like  think like a movie producer and pitch projects to the feature film world. but focus on franchises that have a shot of succeeding since so many have failed.

if you are a hardware platform manufacturer, it is a no brainer to license content for your platform but think film and gaming and online. what games can you license which take full of your platform’ s gameplay, video codecs, engines and distribution networks (net based) which can also leverage net sites and tie-ins to other promotions and platforms? finally, and this is counter intuitive, don’t look for exclusive deals. look for content that will be  licensed across your competitor’s platforms as well. think “coopetition.” come on, you read the harvard business review and know what this is. this will provide you with safety within a larger content ecosystem. it’s how many fish leverage coral reef systems. be a fish.

if you are a brand manager or advertiser…well…this is a target-rich environment,  to say the least. there are multiple. cross-promotional opportunities both large and small across the spectrum. and you too can become a producer like jerry…propose a film/gaming franchise to your brands. that how coca cola and ford developed “american idol” after all…it was an advertising brain child that drove it from day one.

for more information, please contact us at 512.825.6866 to discuss the issues more fully and the specific impact & implications to your business. it’s free!

hulu introduces personalized ads with “ad tailor”

(eyeball time: 2.0 minutes but you might read faster…)

the dea skinny on what’s happening:

www.hulu.com

on may 13, 2010, hulu  announced a handful of new improvements to the site’s experience. hulu.com, an online video distribution outlet (a joint venture owned between news corp., nbc universal and disney), now offers an even more refined advertisement assessment tool. Named the “ad tailor”, this system delivers personalized ads to viewers while tracking its effectiveness.

the stakes:

shifting away from its original “thumbs-up/down” system to a “is this ad relevant to you?” and offering “yes” and “no” as possible answers, allows for hulu to better understand whether the product or service being shown is relevant to the viewer. this is invaluable data for advertisers who can now quantify direct viewer results. imagine having the ability to know exactly whether the latest “modern family” audience really loves your latest deodorant. this tool helps eliminate the guessing game. In addition, the system can then recognize and recommend “better” ads for viewers.

according to the interactive advertising bureau (IAB) and pricewaterhousecoopers (PwC), online advertising spending grew 7.5 % in the U.S. in the first quarter, a clear sign that the digital media industry is recovering from a rough 2009. revenue hit US $5.9 billion showcasing a vote of confidence among companies and results in increased marketing spending in areas like online advertising. hulu.com ‘s “ad tailor” can only help foster growth in this segment.

the dea takeaway:

for advertisers and brand managers, this is the magical metric measurement system you always wanted. combined with the hulu surveys, this new direct question & answer system can help really refine targeted marketing efforts. hulu serves hundreds of millions of streams per month and is a top 10 online video property which features an immense collection of premium entertainment across all genres and formats. hulu offers several packages and customized advertising solutions; however, rates are determined on an individual basis. online advertising rates are still highly competitive but significantly lower than traditional print or television spots. If you are looking for a new way to reach an audience, hulu.com maybe an excellent option.

for more information, please contact us at 512.825.6866 to discuss the issues more fully and the specific impact & implications to your business. it’s free!