Monthly Archives: July 2014

A Deluge of New Summer Programs Has TV Marketers Scrambling

The promotion of the 2nd season of the Showtime series “Masters of Sex” includes a video clip on YouTube titled “Undress Me,” created by the filmmaker Tatia Pilieva.

FOR the marketing executives whose job it is to round up eyeballs to watch television, the summer is turning out to be hazy, crazy, anything but lazy.

A deluge of original programming is replacing many of the reruns that typically dominate schedules this time of year, offering viewers perhaps the most new summertime series since the early decades of the medium, when so-called summer replacement shows filled in for 13 weeks when the networks’ premier programs finished their seasons and went on vacation.

By one count, broadcast networks and cable channels are introducing 88 shows from late May, when the 2013-14 season ended, through late September, when the 2014-15 season will begin. Add the new series on websites like Hulu and YouTube, along with new episodes of streaming video series like “Orange Is the New Black” on Netflix, and “the choices are bountiful,” said Marc Berman, editor in chief of TV Media Insights. “That once-proverbial ‘Gone fishing’ sign in the summer is now a memory.”

“The growing trend of programming on a year-round basis” not only produces “larger tune-in” in the summer, which benefits advertisers, he added, it also “translates into a stronger promotional platform for the fall,” when the television season starts again.

The need to find viewers for all that fresh summer fare is generating a flood of advertising campaigns, in traditional media as well as in newer realms like social  “It’s challenging in a culture with a lot of noise to get attention,” said Don Buckley, executive vice president for program marketing and digital services at Showtime Networks. “You have to find unique ways to reach people.”

For instance, among the commercials, print ads and posters to promote the second season of the Showtime series “Masters of Sex,” which is to begin on Sunday, will be a video clip on YouTube . titled “Undress Me,” created by the filmmaker Tatia Pilieva. “First Kiss,” her video promoting a small clothing line, Wren, has generated almost 85.8 million views on YouTube since March.

In “Undress Me,” 20 strangers are paired, undress each other down to their underwear and go to bed. The action is meant to evoke the research conducted in the 1950s by the main characters of “Masters of Sex,” William Masters and Virginia Johnson, as is the principal artwork for the campaign, which is styled to resemble the racy men’s magazines of the era that were often sold in plain brown wrappers.

A campaign to promote “The Strain,” a new series on the FX cable channel, includes  “It’s probably more important than ever to have the right creative platform,” Mr. Buckley said. “We don’t take anything for granted.”

“Masters of Sex” is one of two series that Showtime, owned by the CBS Corporation, is bringing back on Sunday for a second season, along with “Ray Donovan,” with Liev Schreiber in the title role. Another cable channel, USA Network, is running campaigns for four series that returned for the summer — “Covert Affairs,” “Graceland,” “Royal Pains” and “Suits” — and two, “Rush” and “Satisfaction,” making their premieres on July 17.

“I joke that as a marketer I wish I’d appreciated five years ago, even three years ago, how much easier it was to launch and sustain a show,” said Alexandra Shapiro, executive vice president for marketing and digital at USA Network, part of the NBCUniversal division of Comcast. “To stand out, you’ve got to zag while everyone else is zigging.”

“ ‘Satisfaction’ is a great example of what we need to do now, and will need to do, for all our shows,” she added. To promote that drama, about a couple trying to make marriage work, USA Network has teamed with two nontraditional media companies, HowAboutWe and Vice Media, for efforts like online video and events.

“This is one of our first television-related projects,” said Eddy Moretti, chief creative officer of Vice Media, which also creates content that advertises movies and brands.

He described the three-episode web series that will promote “Satisfaction,” about “sex and relationships in the modern world,” as “additional storytelling inspired by the storytelling of the show.”

“The TV marketing departments are saying, ‘Let’s do something different,’ ” Mr. Moretti said. “I think that’s really cool.”

As appealing as unconventional promotional tactics are, Mr. Buckley of Showtime said, they are “part art, part science.”

Although “we have analytic tools we didn’t have even five years ago to help us find people with the propensity to watch a show,” he added, “we’re flying a little blind because we don’t always have the metrics.”

The result is sometimes two steps forward and a step back. For instance, complaints in Los Angeles about some billboard ads with startling images of a worm in an eyeball — promoting “The Strain,” a horror series that the FX cable channel will introduce on Sunday — led FX to replace them with other ads for the show. Although “we’re not out there looking to upset people,” said Stephanie Gibbons, president for marketing and on-air promotion at FX Networks, part of 21st Century Fox, the series is “not for the faint of heart” and the images “are signaling some people that it’s not for them.”

“When you’re breaking rules,” she added, “there can be some glass on the floor.”

“The Strain” is one of five series FX will introduce this summer, along with “Married,” “Partners,” “Tyrant” and “You’re the Worst.” Television is “definitely a 365-day-a-year business now,” Ms. Gibbons said. “There’s no break, no cycle; it’s a wheel of continuous content.”

“Sometimes,” she added, laughing, “you feel like the hamster within that wheel.”

By Stuart Elliott – New York Times – July 6, 2014

How to delete Facebook from your life completely

Deleting Facebook: more difficult than you might think.

If you’re seriously considering deleting your Facebook account, you’re not alone.

Start typing in the letters “dele” into Google and you’ll see “delete Facebook account” as a top suggestion. Whether it’s to alleviate privacy concerns or avoid digital distractions, more people are trying to figure out how to fully disconnect themselves from the social network giant that we live and breathe.

For those ready to call it quits, you’re in for a surprise — it’s more difficult than you think to erase yourself permanently. With its ever-changing privacy policies, becoming Facebook-free requires more steps than just hitting the delete button and saying goodbye.

Keep in mind deletion is not the same as deactivation. You can deactivate your account at any time, which means your Timeline and information will disappear from Facebook until you reactivate your account. When reactivated, your information is restored. Deleting your account means you can never, ever access your account again, and you won’t be able to retrieve any of your content or information.

Most of your personal data, like your email and mailing address, is removed from Facebook, but some information, such as messages and photos, may remain on its server for “technical reasons.” Facebook’s Help Center also says the data left behind will no longer be identifiable or searchable as your own, and that it will be inaccessible to other people using Facebook.

If you 100% want out, follow the step-by-step guide below to erase your Facebook footprint and make sure your account is gone for good:

www.theage.com.au/digital-life/digital-life-news/how-to-delete-facebook-from-your-life-
completely-20140703-zsuib.html

Kyli Singh – Mashable – July 3, 2014

‘Transformers’ Earning More in China Than U.S.

“Transformers: Age of Extinction” is a bigger hit in China than it is in the United States, according to numbers released Tuesday by China Movie Media Group, a partner in the production. So far the film has made $134.5 million in the People’s Republic in its first five days of release compared with $121 million domestically after five days in theaters. The previous “Transformers” film grossed roughly $165 million in China.

The film brought in $10.5 million Stateside on Monday and $10.4 million on Tuesday, so it’s doubtful it will match those figures after Wednesday’s grosses are tallied.

Moreover, the film has now shattered the record set by a China-Hong Kong production, “The Monkey King,” which grossed $133 million over 11 days, and it has done it in half the time. China Movie Media Group said “Transformers: Age of Extinction” is on track to surpass “Avatar’s” record $217.7 million haul from the country.

It’s almost unheard of for a Hollywood film of this size and scale to surpass its Stateside gross in a foreign country, particularly a fiercely protectionist market such as China, which often takes steps to safeguard its local productions by giving foreign films unpalatable release slots. However, Paramount Pictures, the studio behind the franchise, took great pains to incorporate Chinese elements into the film — shooting parts of the picture there, casting Chinese star Li Bingbing in a key role and partnering with local companies to help promote the film.

China Movie Media Group, the country’s largest distributor and film promoter, collaborated for the first time with a U.S. studio, providing ad, online ticketing and other forms of support.

Brent Lang – Variety – JULY 2, 2014

Australian branded content drama The Horizon hits 21 million online views

Australian brand funded online drama series The Horizon series has hit more than 21 million views on YouTube.

The show which depicts the lives of a group of Sydney gay men hit the number following the US launch of its fourth season. The third season has claimed four awards at the 2014 LA Webfest following a successful run online.

The show is averaging 40 – 60,000 viewers daily say its creators, and now boasts 73,000 ongoing subscribers to its YouTube channel. Brands behind the series include General Pants, NSW health promotion agency ACON, and DNA Magazine.

The series is produced and directed by former Packed to the Rafters writer Boaz Stark, and is backed by producers Brian Cobb and Jacob Inglis and Executive Producers Tania Chambers and Rob Cannella.

Series 4 features a number of Australian stars including Belinda Giblin and Barry Quin with cameos from Gretel Killeen and Jonny Pasvolsky as a vivacious nurse and a caring Priest.

“We have found some great ways for people to be involved with The Horizon series five and six, through pledges towards the production costs, which will then enable us to offer various opportunities like a walk on role or name your own character, as well as executive producer titles to those wanting to pledge” said Cobb. “Pledges can be made from $100 offering fantastic opportunities at every level”.

Robert Burton-Bradley – mumbrella – July 1st, 2014

www.youtube.com/watch?v=3e6bf2OkQKA&list=UUrkkQ0gp5biGP7K0mixrdyQ

States ponder responses to Film Vic initiative

Film Victoria’s switch from equity investment to non-recoupable funding of film and TV productions has prompted other state screen agencies to review their funding policies to remain competitive with the Vics.

Screen Queensland, which is in the midst of renewing its terms of trade, and ScreenWest both confirmed they are closely examining the Film Victoria initiative, which assigns the agency’s equity interest to producers.

The South Australian Film Corp., which introduced a producer equity scheme soon after Richard Harris’ arrival as CEO in 2007, is reviewing aspects of its scheme.

At Screen NSW, any adjustment of its funding policies would need to be signed off by a new film and TV industry advisory committee to be appointed by the Minister for the Arts, which replaced the board. Screen NSW recently increased the non-recoupable sum available per project from $70,000 to $100,000. CEO Maureen Barron is on leave and unavailable for comment.

Announcing the funding arrangements that began on July 1, Film Victoria CEO Jenni Tosi said an external review found there was no “real rationale” for the agency to make equity investments. Projects which are primarily but not entirely filmed and post-produced in Victoria will also be eligible for non-recoupable investment, a move which may attract more production from other States.

Film Victoria has the advantage of being the best-resourced of all the state agencies, meaning it can support financially more projects than Screen NSW and Screen Queensland.

By Don Groves INSIDEFILM [Wed 02/07/2014]