Tag Archives: advertising

The Flying Car is Just Around the Corner

Screw you, flying car. You haven’t been invited, and you never will be. Screw you, Fox News. I’ll believe it when I’m riding a terraguia flying car that cost less than $50K. I’ll be riding it with my hover board under my seat, and the animated head of Walt Disney on my lap. 

Sure we'll have flying cars as soon as we invent time machines and hover boards.

Sometimes when you’re trying to be controversial, you end up being right. Around 2001 I kept hearing that “electronic medical records” (EMR) were just “one or two years away.” I’ve since joked that it is indeed “one year away” perpetually (no matter what the year is). I’ve not been significantly wrong yet.

Here are some more pathetically pessimistic statements I’ve made about the future of technology and advertising, but they haven’t failed me yet. If I’m right, please remember that. If I’m wrong, I respectfully which to join the top 87 bad predictions about the future (that have been wrong). Perhaps I shall rank as high as “Everything that can be invented has been invented,” which is attributed to Charles H. Duell, an official at the US patent office in 1899.

  • Mobile-Marketing: While working at KPMG Consulting more than a decade ago, I was asked to speak about the future of mobile marketing. Naturally I knew almost nothing about the subject but most didn’t. So I did some fast research and made up some decent crap that seemed plausible. Then, to ensure I put my own touch on it, I expressed a contrarian opinion or two. Most over-zealous experts were predicting that we were just years away from mobile ads that gave you real-time promotions based on geographic proximity. The most-viral example was a Starbucks “offer” that summoned a person back if their device’s GPS told the advertising network that the individual passed a store (see parody below). So I cried “nonsense,” and said those wouldn’t be coming for a very long time, and that usage would be minimal. Just a hunch, but I was right. Here we are 11 years later and here’s 8coupon and how many people use these things? >>> Sure mobile marketing is a big deal, but we’re not idiots… we’re going to find ways to ignore intrusive spam and let very select companies and brands into our smart phones. Or, arguably the phones (and their owners) are not really smart, right?

  • What's the matter, Coyote? Did you step onto that TOTALLY fake hole. It's just a piece of black circular velvet, dude.

    Customized Marketing: Yeah, right. The Tom Cruise scene in “Minority Report,” created the character with competing talking voices by ads mentioning his name and specific tastes. I cried “bullshit” because Chief John Anderten (Cruise’s character) clearly hadn’t opted in for so many programs. Furthermore the audio delivery would need to be incredibly precise to target an individual’s ear without spillover. And did I mention that fake hole the Coyote uses with Road Runner is total and complete bogus. I’m so sure. A black circular sheet that creates a whole wherever you place it. Utter bullshit. We barely ever see custom digital ads, which would be incredibly easy to create and deliver. It’s because media buyers are too dumb and lazy (except you, dear reader). >>> We’ll get better at custom marketing, but the vast majority will not be conspicuously targeted. It’s best that the buyer not know the magic we’re using to reach them. It’s creepy.

  • Y2K Will Be Anticlimactic: Having a contrarian opinion about a popular belief makes you more interesting and credible. Like when I did a Y2K interview I decided to take the “nothing bad is going to happen” approach. I had no real facts, but I figured if I was wrong nobody would remember. And if I was right I’d be a genius (which, of course, I am). >>> Most of the warnings of Y2K turned out to be hogwash. One of my sisters packed a “Surviving the Apocalypse” supply of food and water, and still has it. Another called me in tears in the last minutes of 1999.
  • No Flying Cars: When I spoke last fall at my son’s fourth-grade class (about writing and my book) I told them that when they’re adults they will desperately need to write, even if that writing may occur in radically different ways (like using the voice or swiping the fingers in the air). Ways they couldn’t even imagine. Then I told them when I was in fourth grade I predicted flying cars by the age of 2000, and I was wrong. Before I could observe what was coming out of my mouth, I heard my lips say with great ferver, “there will NEVER be flying cars.” >>>> Sure the elite might have magical flying cars, but I don’t see them as a travelling device for the unwashed masses. Too many accidents in the sky, a place that does not very well accommodate such things as red lights, speed bumps, stop signs, and white/yellow paint. Sure could find electronic equivalents, but I’m betting it’s not in any reader’s lifetime.

And now here’s PC Magazine showing the 12 flying cars that led to Terrafugia. Yeah, right. Terrafugia (see commercial example). George Jetson called. He wants his briefcase packed with a flying car back.

"The flying car, something I imagined in fourth grade, will never happen," I said.

10 Online-Video Stats (Advertising & Reach) Worth Knowing

youtube statistics

There are too many and too few statistics about online video and YouTube. We’re quite tired of hearing some of them: like how many videos are uploaded in a given timeline. But thanks to Pew and the increasingly popular “infographics” for giving us more than we could ever remember.

This one (image on right) is courtesy of Mashable and was created by Emily Caufield. It’s somewhat miss-titled “The History of Advertising on YouTube” because it starts with a history of the video-sharing site, then expands to mobile stats and other areas).

If you want a quick scan of some key online-video and YouTube stats that are public, here’s my list….

  1. YouTube represents more than 22% of mobile traffic. That’s data not time, and mobile use has skyrocketed by 70% over the past six months, according to Allot Communications Mobile Trend Report.
  2. About 70% of YouTube’s traffic is outside the United States. Yep- only a third are in America.
  3. Globally, YouTube is monetizing 2 billion video views per week. The number of advertisers increased 10-fold last year (good timing on the publication of that amazing online-video marketing book called Beyond Viral).
  4. Daily views are more than 2 billion a day as of the 5th year birthday Yeah two billion.
  5. To learn more about YouTube advertising, visit this page.
  6. YouTube scans more than 100 years of video each day using “Content ID.” That’s an automated tool to identify, claim and monetize content that belongs to you.
  7. One in four Americans watch a video online each day (Huffington Bloat). And 71% of us use online-video sites. comScore actually upped it to 85.6% as of June 2011. Remember when people said only teenagers watched videos online, and I said it would soon mimic web use? I did. What matters, however, is not whether or not we do something online… but how frequently.
  8. Only 8 percent U.S. subscribers to broadband users don’t have television subscriptions (the infamous “cord cutters” also don’t consume much more online video than the rest).
  9. Hulu has done somewhat better with advertising than YouTube, according to many analysts and idiots. Hulu did 1 billion ad impressions (that’s not all pre-rolls, friends).  Each viewer watched 38.8 ads in the month. Sigh.
  10. And here’s eMarketer’s forecast about online video from 2008. Just tossing in an expired piece of data to make the rest fresh by comparison.

    The Pew data shows online-video growth is on the rapid incline.

 

Are Video Preroll Ads on Rise or Decline?

Yes. Video prerolls are both growing and declining. The good news for viewers is that we saw fewer prerolls. But we saw more “polite prerolls” (option to escape) in Q1 2011 as reported by AdoTube/eMarketer. Since this doesn’t include YouTube data and presumably a small sample of total online-video ad streams it does need to be taken with a grain of (Morton’s: when it rains it pours!) salt.

Viewers will appreciate fewer prerolls (as reported by AdoTube), and advertisers will enjoy more "engagement" models
This "Right Guard" ad begs for engagement. Did you notice the "close" button?

Forget prerolls, friends. The increasingly competitive ad networks have a whole sleuth of weapons in their online-video ad formats that range from the innocuous “polite pre-roll,” to a bit more ominous names like in-stream takeover, ad selector, in-stream skin, inside-out roll, interactive overlay, video-in-video, interactive gaming overlay, data entry and capture, branded player, over the top, and beyond stream. I believe that Seroquel example, placing a “reminder” ad without “fair balance” adjacent to depression content is (shhh) a violation of FDA guidelines, but I digress. ANY of these ad-format names beats the “fat boy” branded by Point Roll.

Take a look at some of the bold “engagement” formats presented in AdoTube’s ad-format gallery and you’ll see why viewers are, according to eMarketer, about 30% likely to engage in an ad… even when not forced (hence the term “polite”). You’ll also see that it’s often not clear there’s an opt-out available.

The eMarketer report, titled “Options for Online Video Ad Viewers Leads to Higher Engagement” is encouraging. With online video being one of the leading (if not #1) fastest-growing portion of a marketer’s “media mix,” advertisers will want and expect formats that achieve their goals: from branding to engagement. This chart is important to viewers because it shows that “cost per impression” remains the dominant percent of spending. In “cost per impression” (often called CPM, or cost-per-thousand), the advertiser simply pays a few bucks to reach 1,000 eyeballs without much accountability.

"Cost per impression" still leads, but more interactive "engagement" ad formats are increasing (Brightroll Data)

While few of us welcome more aggressive online-ads, this also substantiates a business model to fuel the medium’s growth. While it’s easy to complain about intrusive ads (especially as the pendulum seemed to swing dangerously to the advertiser’s benefit in the past year), it’s a vital element to online-video’s maturity. If the advertisers don’t get what they need, friends, we won’t be seeing our content for free.

There are three ways to increase “engagements” in this online-video advertising medium, and I’ll list them from best to worst in order of sustainability: novelty, creative and targeting:

  1. Novelty: A new ad format generally enjoys a period of high engagement that’s deceptively high. We’re curious about what the ad does, and may not realize we’re engaging, so it’s not necessarily suggestive of purchase intent. In early February, a debut YouTube customer of YouTube’s “skip this ad in x second” preroll told ClickZ he was seeing a 30% engagement rate. That’s far higher than we’ll see as a norm, and a tribute to the novelty effect.
  2. Creative: Great creative always wins, and this is a fairly enduring trait. While overall engagement might slip when we’re “numb” to an ad format (like monkey-shooting banner ads, or even the “InVid” format that creeps up on YouTube… the best creative wins the best attention, engagement and results.
  3. Targeting: Ultimately the most sustainable and important characteristic of a high-engagement online-video ad is its ability to reach the right target. I can engage in a tampon ad, but it’s not going to sell more maxi’s. But if I get a rich-media ad over (or adjacent) to my valued content, then we’ve got a win-win-win (advertiser, publisher, viewer). That’s where we can expect Google/YouTube to be better in the long haul, but it appears the sophisticated advertiser networks are ahead. These ad networks marry data from a variety of sources to serve ads invisibly on the videos across a variety of websites.

So what are the takeaways to advertisers, video sites and us viewers?

  • First, the options available to advertisers means that online-video ads will begin to get as aggressive as other forms of interactive ads. This has positive and negative effects, but as long as it’s targeted it’s sustainable.
  • YouTube, which reports very little about its ad performance, has not radically departed from its debut formats, with the exception of breaking its early commitment to make pre-rolls optional. Now most pre-rolls are mandatory, but we can opt-out of some after a few seconds (at which point the “opt-out” means the advertiser pays YouTube and the creator less).
  • Ads are a vital cost-offset for those of us that have been enjoying free video content for 5 years and would like that to continue without avoid pesky Hulu-like subscription models (unless a “value ad” bonus to the cable contract, assuming we haven’t “cut chord.”).
  • And finally, Morton’s salt can be trusted. Trusted I say.

 

YouTube Takes Roadblocks, Takeovers and Fat Boys To Yahoo Level

YouTube puts Yahoo and even About.com for the most intrusive ad campaign in the history of online-video advertising: Kung Fu Panda 2.

While it’s not exactly consistent with Google’s ad model (subtle and relevant) it wins a few points for creativity. And hey… What would YOU do to market this Dreamworks sequel?

http://mashable.com/2011/05/11/kung-fu-panda-2-youtube/

Dr. Who BBC America Campaign: I Love It When A Plan Comes Together

As Hannibal used to say on A-Team, “I love it when a plan comes together.”

I love it when a (integrated media) plan comes together.

One of the most rewarding things about participating in online-video campaigns for big brands or network shows is seeing these launch simultaneously with television and print advertisements. We call it “integrated marketing,” and it’s easy in concept and difficult but wonderful in fruition. Okay, I like the payments better, but integrated marketing is still rare enough to be a pleasant surprise… especially when it involves “new media” and social. Of course, it’s difficult for a marketer or agency to time precisely a campaign’s “peak” in various mediums, given paid “insertion orders” (formal booking of space in media) often requires months of lead time. Likewise the “books” (magazines) can require months of advance notice.

I noticed that our YouTube GE Healthymagination campaign was timed well with a series of television spots, and most recently I’ve seen it on BBC America’s launch of Dr. Who (my video below was titled “Time Travel Fail, “What Year Do You Miss,” and “What Would You Do if You Had a Time Machine?” (thanks munchvids for the video response… it’s sad that those don’t get more real estate when the video plays).

The YouTube videos included time-travel themed videos, and included branded ads for Dr. Who

I wasn’t the only part of this campaign, and I’m writing this without any inside knowledge of the agency, budget, timing or execution. Hats of to MysteryGuitarman for this epic video that was also part of the campaign. I’m especially impressed that he found a “rotary pay phone” and managed to add a LED screen. And Joe, it’s making me crazy that you’ve managed to multiply yourself with better special effects than I see in most movies (Freaky Friday, Multiplicity). Vsauce’s video actually made me think, and TheStation participated with “Waiter Takes Out Restaurant.” Check out the whole series (a link to YouTube videos tagged ifIHadaTimemachine, then ranked by views).

The very week these YouTube videos launched, I noticed a prime print advertisement in Entertainment Weekly, a NYC “out of home” component,” and some “earned” media uptake (PR). Furthermore, the YouTube “branded entertainment” video series were wrapped with display and InVideo ads.

I like these “organic” YouTube campaigns that don’t force the brand in the webstar’s videos, but let the creator carry the campaign theme in their own way. The comments I’ve read are largely positive (a contrast from campaigns that require sponsored YouTube videos to have a branded slate at the intro, which is so forceful as to scare people away).

What can producers, networks, agencies and YouTube do to make these campaigns work even harder? A few ideas, but they all have executional nuances so it’s a bit unfair for me to “Monday morning quarterback.” Again- I know nothing more than what I’ve seen as a Dr. Who fan (and the very simple directions got via YouTube to make my video).

  1. Cross-link the videos so Dr. Who fans (I know you’re out there because many of you noticed the picture on my son Charlie’s shirt) would be able to move through them without having to leave YouTube (only a few percent of people leave a YouTube session for an ad, and that’s when there’s a strong reason).
  2. I would suggest the digital agency also run paid-search ads for related keywords (even though I doubt there are loads of people searching “time machine” and “ifihadatimemachine” the cost of that inventory would be minimal). I’d certainly be buying ads for those people searching for “Dr Who, BBC America” and related terms, which would help get more eyes on the campaign website: “TimeMachineTales.” Buzz drives search, and it’s a shame to see Amazon books rank higher than the 2011 version of the timeless show.
  3. Take advantage of YouTube’s “live” programming to augment the April 23 premier with something real time (perhaps one of the webstars watches the debut and invites interaction with fellow fans). If MysteryGuitarMan said he was going live on YouTube on the evening of April 23, I imagine hundreds of thousand would follow.
  4. Recognize that the YouTube aspect of the campaign is valuable far beyond the campaign. For instance, my Fringe promotions have accumulated significant views long after the debut. There’s a perpetual nature to these programs. As Hitviews CEO Walter Sabo says, “Campaign Duration: Forever.” The 105 videos his company has delivered for brands have accumulated in excess of 30 million views.
  5. Finally the real way to “break the fourth wall” is to allow a television show’s cast to interact and collaborate with prominent YouTube creators. This can be difficult, but possible. In the case of my “Meet the Fringe Cast” video, I simply learned the cast was at ComicCon, and I convinced the sponsor (Fox) to allow me the same access the network/producers gave to professional media. In another example, we saw V’s “Anna” (Morena Baccarin) appear on YouTube’s homepage with a custom message for YouTubers, and that was a “bar raising” move. Now imagine iJustine mingling with Mark Sheppard, which would carry as much weight as a local media tour to promote the show. iCarly’s Freddy Benson (Nathan Cress) met with YouTube’s prolific “ShayCarl/Shaytards” in a casual meeting that I would have paid to facilitate if I was Cress’ manager or iCarly’s promoter.
  6. Lastly, and this is really difficult, it would be great to find ways to permit clips from the show intermixed with the YouTube videos. For very good reasons this is rare. Often the network promoting the show doesn’t have the rights to use the content in promotion. The benefit, however, is you can give people a contextual teaser of the show’s actual content… as I did with “Fringe is Scary.” These clips were approved by the producer (JJ Abrams’ Bad Robot) for use with media, and I even snuck in some very tiny snippets beyond those in the media library.
IF I HAD A TIME MACHINE hosts tweets and videos related to the campaign

I’m sure it was not part of the campaign that Elisabeth Sladen died this week (she’s the British actress who played intrepid investigative journalist Sarah Jane Smith throughout the classic BBC series’ 30-year run). But only one Guy calls those shots, and he’s not much of a marketer (thank God).

Busted: “Hacking Times Square With iPhone” Is Deceptive Film Promotion

Take it from the author of “Beyond Viral,” dear reader. Viral video is like fire. It can create a toasty fire or get people burned. Today we learned out the Times Square billboard hack video was part of the campaign for the film, Limitless.

The deception was the brainchild of the viral-video maker “ThinkModo,” according to the New York Times, who “outed” the stunt.

“We’re pushing the engagement of an idea which leads you then to the product,” ThinkModo’s James Perceley told the New York Times in his defense. “It just is a whole new mind-set where you don’t have to wrap everything up in a bow and if you don’t, people are going to be a lot more interested in you and what you’re selling and what your message is.”

We think otherwise. Calling it “engagement pushing” is simply misdirection. It’s unethical marketing that is deceptively disguised. The lack of transparency (of the film’s financial support of what appears to be a user-generated video) is reminiscent of the 1950 subliminal advertising, which sends “buying signals” to our subconscious without our executive-brain’s consent. This despicable tactic shows the seedy, desperate nature of marketers who don’t mind duping journalists, technical blogs, audiences and potential ticket buyers… all in the name of “engaging” audiences in immoral promotion of a film.

Techcrunch’s Michael Arrington is calling the campaign “a sad, desperate state of sensational adverting,” and apologized Sunday to TechCrunch readers. Arrington reports:

“We believed the video’s creators had indeed hacked Times Square’s billboards, and that it was a newsworthy event that would interest technical enthusiasts. Had we known that we were being duped into free advertising by ‘covert agents’ of the film’s promoters, we would not have run the article so prominently. TechCrunch urges its readers to boycot Limitless, and promises to apply more rigor in our future journalism”

The campaign for the “Limitless” film, staring Robert DeNiro and Bradley Cooper, includes other a misleading and deceptive practices including a Web commercial for NZT, a drug featured in the film. Apparently the term “Limitless” refers to the film’s marketing practices, and the complete “lack of limits” in scruples of desperate marketers.

While I do many sponsored videos, I always disclaim the brand or company that supports my videos. Can’t we expect the same from others?

Still reading?… Is this blog post and its facts and opinions actually real? No. But suppose after feeling outraged by this post (either in support or defiance of my point) you later found out that this faux WillVideoForFood post was simply a paid promotion for a new book called “Business Ethics: Decision Making for Personal Integrity & Social Responsibility” by Laura Hartman and Joseph DeJardins. In this hypothetical experiment, I’m asking you to pretend you later learned that my faux written tirade was, in fact, a ruse that omitted transparency about my financial compensation from McGraw Hill. Suspend belief momentarily, and imagine I didn’t “come clean,” but was “outed” by another blogger who reported that my post was simply a compensated, masqueraded promo for the book. Would you trust my reporting if you learned this post was a promotional gimmick? (It’s not).

Would you feel duped, or would you say, “hey that Nalts is pushing the engagement idea to cool new limits.” I’m just curious.

Online-Video Changes: Facebook Growing, Pro-Content Attracting Ad Dollars

comScore’s February data once again shows Google’s dominance in the online-video market, but Facebook is catching up. It’s now the fourth-largest online-video sharing property (see Facebook’s unofficial resource for more information). Facebook, as a sharp contrast from other sites, has short bursts of viewing (far shorter durations than other properties like YouTube, Hulu or Viacom (see BroadbandTV report).

comScore has a nice presentation that shows the “radical” growth of the medium (see download), and the total people relative to streams. It seems that the longer format of professional content (basically TV shows streamed online) is attracting a greater portion of advertising today.

Growth of streams and peeps from 2006 through 2010 (comScore)

To me, the most interesting part of this report is the acknowledgement that advertising dollars aren’t keeping up with the increase in online-video viewing. While this is probably true for the dawn of every preceding medium (radio, television, internet), it does suggest media buyers are in need of additional adjustments of the “media mix.” This requires better planning, and more creative built for the channel.

The ad budgets aren't keeping pace with online-video consumption

Because media-buying agencies (representing top brands) are more comfortable with television, it’s no surprise that Hulu is serving more ads per minute streamed. It’s familiar content and an easier format. Of course advertisers should be looking not just for “comfort” and targeting, but also “reduced clutter.”

Note that YouTube is not leader in advertising delivery (when you look at “ad views”). After Hulu, Tremor Media Video Network ranked second overall (and highest among video ad networks) with 503.7 million ad views, followed by ADAP.TV (432 million) and Microsoft sites (415 million).

Online Video Tips for Small Business (MSNBC)

Get some coffee or program your TiVos, kids.

That video I shot Sunday for MSNBC Small Business (see MSNBC/Amex site) is going on television not the web (glad I didn’t quite realize that when I shot it, or I might have gotten nervous).

It airs this week 3/20/11 at 7:30am EST and will re-air Saturday, March 26th at 5:30am EST. This timing should work well for small businesses and entrepreneurs since they never sleep. And the YouTube peeps? They’ll still be awake from the night prior.

In the meantime, you can check some of the tips I shared with AOL small business, or buy Beyond Viral (Wiley) at your local bookstore or Amazon. And tell your friends at ABC and CBS they should book me. 🙂

Oh- I made an epic mistake on the video that I’m hoping people think was intentional because it’s so blatant. Be the first to notice it and comment below, and you get a free piece of cheese (and maybe an autographed copy of Beyond Viral if I actually remember).

Understanding Online-Video Using SEM Analogies

A media buyer recently approached me to see if YouTube “stars” could beat .05 on a cost-per-view basis. It was such an odd question, and one that made me realize we’re still comparing apples to oranges. As I answered the question (yes, but…) I found myself drawing analogies to a more familiar digital medium: search engine marketing (SEM).

Let’s draw from our collective understanding of both Google advertising and “search engine optimization” (SEM), where content providers try to have their websites rank on the first pages of search engines. Then let’s explore how that can help us understand online-video marketing. Finally, let’s pay special attention to “the second click,” which I use to refer to the prospect who chooses not to visit your own content but remains important.

This post is not really about search-engine optimizing video content (see ReelSEO for a wealth on that). It’s about thinking about online-video in the same way we think about an SEM approach. Apologies to traditional advertisers since this post does depend on some basic understandings of digital marketing and search-engine marketing, although I’ve tried to reduce the jargon and assume SEO/SEM is not your sweet spot.

I. Getting “Natural” Views: To get a brand.com or campaign website high search-engine ranking (thus “free” visitors) we have a variety of tools and tricks, but four basic guidelines:

  1. First, we optimize the content to use words that are commonly searched (use customer lingo not our brand speak). We frame our content to answer common natural-language queries like “what’s the cheapest life insurance insurance in Arizona” rather than “Bob’s Inexpensive Term Insurance!!… oh and I serve the globe, but happen to be in Arizona.”
  2. Second, we design the website to ensure that search-engine spiders can find it (treat the spiders as important as customers, which means more text not flasherbation). Video can help us here, but not in lieu of carefully prioritized words. Little things matter: the picture should be tagged “mom with headache” not “lady with green sweater,” something few potential targets are searching unless you’re selling sweaters).
  3. Most importantly, we try to “link bait” in appropriate ways (no “link farms” please), by earning the right to have credible well-trafficked websites link to our website. It gives us credibility, thus higher rank on engines. It can make the difference from being on the cemetery of page 3 to the wild night club of page 1.
  4. Finally, we want that visit to be positive for the “user” since a quick bounce and return to search can suggest failure to search engines. If you trick me, I’ll leave and re-search… and your ranking will slip.
What this means for video:
  • We need to think about video in this same measured approach. Sure we need to focus on SEO-optimization of our valuable video content on brand sites. Of course we want to avoid churning through various short-term video campaign micro-sites that don’t help in the long run. Absolutely we need to ensure our content is also placed on YouTube and well tagged. But there’s more to it than that.
  • Ultimately our video has to make a promise it can keep. If the headline and thumbnail is a dupe, it won’t last or travel. If the goal is to entertain and draw curiosity, then the brand must take a back seat. If the goal is to explain the product, then that’s fine… but that content isn’t likely to go viral unless you’re launching the next Apple toy.
  • A promotional video serves a purpose, but it’s unlikely to be the next Old Spice or Evian babies video. However a video can travel to prospects if it’s valuable to them (funny, informative), and most brands don’t need 4 million teenagers… they’d rather 100 solid prospects. If we want “organic” or free views (not using paid media) then we’ve got to focus on serving a need and not selling our product.
  • YouTube has loads of ways to promote video content on YouTube, and it’s always cheap… but it’s easier to get people to watch a video on YouTube than dragging them to another website. Off YouTube, we can partner with smaller properties to get “paid views” (the .05 per view reference above), but recognize that “a view isn’t a view.” Once it’s paid, it’s often forced or auto-play, and that can be a data junkee’s “fool’s gold.”
II. Paid Ad Campaigns: On search engines, a good digital marketer will vary creative and try an abundance of headlines, copy and even URLs. More importantly, they’ll create “custom landing pages,” so a search pays off. You’d be a fool to create a search advertisement promising content that doesn’t exist on the landing page. Most SEM veterans will vary campaigns (A-B testing) and do experiments to determine the optimal keywords to purchase, the right creative, and the appropriate content to serve.
What this means to video:
  • Video serves different purposes in various locations. In video display or pre-roll advertising, its goal might be to drive awareness/recall/attitude/intent for the brand or product. Alternatively it may be designed to produce an action/engagement. In general it’s hard for advertising to do both well in the same campaign.  Since most display ads accept the sad reality that click-thru rates are going to stink (low single digits), it may be better to jam the brand name and a simple message into the display ad or preroll… hey at least they’ll get “exposed” to the message. Otherwise the video preroll or display is aimed at a direct response goal (“see our cool education/entertainment,” “we have a sale,” or “check out our new product line.”).
  • While video can augment either awareness or direct response, I see “yellow flags” when I hear media buyers or PR executives using paid media to get videos or microsites traffic. The root cause? Marketers or agencies have sadly invested precious dollars to produce “viral video,” then become frustrated that the videos didn’t… go… viral. So they’re desperately looking for inexpensive ways to get the videos seen by using paid video ads.
  • Now we have a “dangling media tactic,” which is often inconsistent from a brand strategy. There’s a covert mission to get the content views to “save face” for the lonely isolated micro-site or unviral videos.
  • Back to the SEO/video analogy: It’s okay to create written content for search engines in hopes that it will gain high ranking and “free” (organic) views. But we are usually realistic about the timeframe and sheer numbers. However when marketers create video content, they bank on a groundswell of free traffic spawned by YouTube viral and mega-sharing on Facebook. That’s happening less and less.
  • Solution? The video or video-laced microsite (campaign site) should be serving a specific goal on the awareness-to-loyalty continuum and not an isolated tactic that depends on “going viral” organically. If you’re creating video for “top of the funnel” awareness creation, then a) don’t spend a lot of money since the odds are against you, b) keep the brand/ad message on the down-lo because it will tank the natural views.

III. That Second Click: It’s a mistake to obsess strictly about the search engine (we’re done! We’re on the first page organically and with an ad). Odds are that 80-90% of people will zoom right past them to the third-party choice (the credible blogger, the crowd-sourced rating website, or a publisher). That means we want to get our message and content on the highly trafficked websites our customers will visit after their search… the second click. That’s usually done via PR (desperate and failed pleas to bloggers for product mentions) or advertising (often ignored display advertising).
What this means to video:
  • Good news. Most video traffic is not to professional content or branded videos. Outside of music videos, the hidden “oil well” of reach includes mostly amateur webstars or “the new establishment” of web-video networks. These guys are surprisingly receptive to subtle brand messages, inexpensive sponsorships and (of course) adjacent ads that are their primary income.
  • While it’s unethical for a travel destination (hotel/resport) to spiff (pay off) a Conde Nast travel freelancer, it’s okay for them to invite Shaycarl (and Nalts) to visit and show the property to millions of their daily viewers. 🙂
  • It’s not okay to send a free tech product (like that new tablet or HD camer) to TechCrunch or Wired, but you’d be a fool not to deluge iJustine with your latest gadgets (and maybe toss her a check to show it love). It can be cost prohibitive for a marketer with a “recession” budget to hire Justin Bee-iber, but Rhett and Link reach millions and they’re taking a road trip this Friday that I’d sponsor it in a minute if I was a CPG brand (ensuring the comedy/singing duo received loads of free candy and beverages, as well as a decent check to ensure the products get some prominent placement). If I was selling guitars, I’d send a free one to Wheezywaiter and MikeLombardo in a second, and a $1-$10K to mention my website occasionally.
I’m finally beginning to accept why this last “no brainer” step (which I detail in my book, Beyond Viral) is not yet embraced by many brands. For a while I found it downright perplexing and unforgivable that Coke was handing out free product on the streets of NYC, but not sending swag to the top 500 most-viewed YouTube creators (which would provide Coke with more free impressions than it could ever imagine).
But there’s not an easy analog for this type of marketing. Sure Coke does product placement on American Idol, but it’s hard for marketers to translate that to some clown on YouTube even if he gets more views than American Idol. The TV folks are forced to understand product placement and integration because Fox is beating it into them. But it’s hard for a TV junkie to translate that to web video, and trust amateurs. Most importantly, the silo approach of most large brands makes it hard to determine who should run with this: is it PR? Advertising? A sponsorship/events group? Digital?
In truth this type of “second click” thinking applied to video requires people with an odd mix of understanding/experience of marketing, social media, consumer marketing and PR. But those folks are hard to find except in startups (who are less attractive to webstars than Big brands). When they do exist in larger companies, they often lack budget influence.
So this marketplace remains somewhat irrational (some “webstars” fetching obscenely high fees for non-targeted and awkward pitches). Conversely, many brands use PR teams to chase bloggers with smaller audiences and a fundamental reluctance to pitch (because “playing favorites” might erode their credibility as a mini-journalist). And those same brands are often missing some highly influential and valuable willing “spokespeople” with large fan bases and credibility… just because they have no idea that a medium-sized video webstar’s reach is often 100x that of the biggest category blogger.
As Arseneo Hall would say… things that make you go hmmmmm.