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Multimedia search engines like AOL's Singingfish and new video search offerings from Google and Yahoo hope to realize that dream. Yet the content is limited to searchable shows and clips that have been provided online by networks and other video owners. Halliday and Graser, M., Advertising Age,” BMW Pulls out of Branded Entertainment”, September 28, 2005. That's changing a bit, as it turns out. Agencies report clients are more receptive to creating original spots for the Web. Ford has done so, for its Lincoln brand. And Klipmart is creating Web-only footage starring a big-name actor for a Hollywood client, said CEO Chris Young. No surprise, then, that mid-sized video-focused sites are doing the best job of promoting their video content. Pasick, A., “BMW Films Zooms Around the Net”, Chicago Tribune, November 7, 2002. Shachtman, N., “Crouching Madonna, Hidden Beemer”, Wired, June 7, 2001. Considering Klipmart and MSN Video are close partners, you should expect to see ad-supported live streaming on MSN in the near future, courtesy of Klipmart. Klipmart also reports it's working to support the streaming of live events for its clients. Cyrus Krohn, former publisher of Slate and now executive producer at MSN Video, said live event streaming looms large in MSN's strategy. He said it's one of the portal's tactics to increase inventory in the coming year. "If you can integrate product placement into video and act on it, that's very important," said Cory Treffiletti, managing director of Carat Interactive San Francisco. "A savvy producer can incorporate that into their budgets." "Not always will a TV ad play well on the Internet, but what you can do is take that theme and create content specifically geared for the Internet," said Karen Howe, CEO of Singingfish. "Then you can associate that with audio/video search." Por ahora es claro, que si bien tienen un pie en el futuro, han dejado sólidamente aferrado el otro en el pasado. With AOL, buyers are taking a wait-and-see attitude. They agree the portal has a great opportunity to leverage its ties with powerful media brands, and they're cautiously optimistic about service improvements. It's the video destination with the most to gain. TPsde Verito. " Muchos anunciantes temen que las formas tradicionales de llegar a los consumidores , incluyendo el spot de televisión de 30 segundos , estando perdiendo su poder de persuasión. Una vez que superemos la idea de marketing masivo tal como fue heredado de la televisión, películas y medios de prensa tradicionales, rápidamente nos daremos cuenta que el objetivo ya no es impresionar o persuadir por medio de la ostentación, sino más de entretener y al mismo tiempo comunicar e informar sobre pedido. For advertisers, many questions remain. Which publishers have the greatest inventory and service record? What are the dominant formats? Where should the creative come from? But Krohn, a CNN vet himself, sees the evolution of television and the Internet as symbiotic rather than competitive. In the long term, TV and the Web will be one, he says. Aparentemente Leo Burnett (la agencia de publicidad que estuvo detrás de este proyecto) los consejeros de nuevos medios han elegido la ruta mayor resistencia en la web, al forzar a los usuarios a que The Call solamente en el sitio web institucional Pirelli. Viendo el hecho de que sitio proporciona muy poco más allá del acceso a las diferentes versiones y formatos de esta película online, estoy realmente asombrado de esta extensa penalidad autoimpuesta. Por eso es que veo abordajes de entretenimiento del tipo de The Call como uno de los estilos de comunicación más efectivos que los anunciantes podrían utilizar en el futuro para ampliar y reforzar su marketing y branding De acuerdo a Pirelli "The Call" será un punto de giro de la futura estrategia de marketing de Pirelli para la publicidad tradicional, impresa, de televisión y canales de nuevos medios. La compañía también dijo que"The Call" y su publicidad asociada representan el 60 por ciento del presupuesto de marketing de Pirelli - una verdadera apuesta al estilo de Hollywood en un abordaje clave de marketing. Meanwhile, brands aren't waiting for the portals or the search engines to figure out video. Facing a lack of inventory, advertisers have been creating their own programming, often in the form of viral spots and longer commercials. Young, C., “Aesthetic Emotion and Long Term Ad Effects,”Admap, April 2006. Carat's Treffiletti affirms clients are allowing some wiggle room on the subject of original vs. repurposed content. "With pre-roll ads, the inventory is quite limited. It's growing, but the majority of stuff we do is within ad units," said Ian Schafer, president of Deep Focus, a full-service interactive shop serving the entertainment vertical. Where should marketers place their ads? The media buyers ClickZ spoke with for this story all ranked MSN highly in terms of service, implementation and original video content. Online video advertising is a tiny segment of the overall market, drawing a scant $121 million in spending last year compared with $9.5 billion for all online media, according to JupiterResearch. Other stats show Web video ad spending represents just under a tenth of a percent of the $250 billion total U.S. ad market. Yet marketers are really excited about it. Why? Braun has been quoted in media reports as saying the talent community in Los Angeles is eager to provide content for the Internet but are not sure of the best way to do it. Yahoo's partnership with Mark Burnett Productions involving "The Apprentice" and "The Contender" is one possible model. "We have some clients who have allowed us to actually shoot video for [the Internet]," he said. "In addition, when they're shooting a commercial and they have the A roll and the B roll, the B roll has a lot more life now. We can actually use that extra footage." The Super Bowl is the best recent example. When Fox cut the second airing of GoDaddy.com's Bowl spot last Sunday, company CEO Bob Parsons wrote about the incident on his blog and linked to the hosted ad. The result was half a million streams in less than two days. Para llegar a los consumidores de hoy en día , usted tiene que entretenerlos, dicen los expertos de marketing, en vez de abordarlos con una venta a secas. " (Source: International Herald Tribune) Asked to describe the buy-in of various verticals, Herman said packaged goods jumped in first. "CPGs really led the way. Then you had the auto manufacturers come in. GM is in a very strong leadership position now in online video," he said. "We are starting to see financial services companies now, too." He added retail stores, Target among them, and media outlets to that list. El cortometraje se puede ver libremente en diferentes niveles de calidad (baja, media y alta) y para múltiples formatos de video (Windows Media, QuickTime, Real) directamente en el sitio web de The Call. "The publishers aren't positioning this to consumers as a mainstream part of their offerings just yet," said Ari Paparo, product manager for DoubleClick's DART Motif. "Consumers and publishers aren't seeing eye to eye on where this fits into their browsing experience." Aside from its fumbles and its promise, online video brings a fundamental shift in media consumption. Entertainment is also big, for obvious reasons. Deep Focus represents MGM, Miramax and HBO on a range of online promotions into which video figures very highly. Gracias a publicidades de Google AdSense en mi propio sitio, acabo de descubrir un nuevo film recién lanzado por Pirelli (el fabricante italiano de neumáticos). Advertisers ranging from Budweiser to Amex have also done well posting banned ads and extended versions of TV spots online. Some are looking to search as a possible way to accelerate user adoption of video. When the visual Picture Sorts data is examined, we find that the audience understood these films all along. In “Hostage,” the film that lifted ratings of brand BMW, the beauty shot of the Z4 car was the strongest image of the film when it comes to both attention and emotion. For “Powder Keg?” It was the image of the bloody film on the seat of the car. Our years of analyzing and conducting research on advertising film have reminded us repeatedly of the cognitive and emotional intelligence behind how the viewer processes stories on film. While film may be a product of relatively recent history, stories are not—and it is critical to our understanding of branded entertainment to neglect neither the narrative nor the visual structure in our examination. If advertisers are going to be successful at all in the making of good branded entertainment, or even product integration that works and makes good sense, they can’t start in a better place than employing the rigors of research to understand exactly how the viewer watches film and processes brand stories. McKee, R., “Story: Substance, Structure, Style and the Principles of Screenwriting”, New York: Harper Collins, 1997. The Call, como cualquier otra película de marca online, es un perfecto vehículo de contenido que otros editores pueden utilizar para conducir interés y atención a sus sitios. Cuanto más ligue usted ese contenido al sitio de la compañía madre más comunicará tácitamente que usted, Pirelli, está encima de nosotros y que esa película y su derecho a ser vista está bajo su dominio: incorrecto. With growth comes the thrilling comparison online marketers get to make with television. Finally, the Web competes with the idiot box in its own language -- video -- with audiences approaching cable network proportions. Many publishers and agencies now believe broadband maturity and a healthy online ad market have converged to create an ideal environment for video ads to thrive. Halliday, J., “Car Companies Work to Replicate Buzz of ‘The Hire’” Advertising Age, August 9, 2005. En 1994, por ejemplo, Pirelli lanzó una llamativa publicidad impresa, fotografiada por Annie Leibovitz, en el cual el atleta de pista y campo Carl Lewis se preparaba en la línea de largada utilizando un par de zapatos rojos de mujer de taco alto. Quizás la más famosa pizca de construcción de marca de Pirelli, sin embargo, no esté en su publicidad. El calendario Pirelli, el cual comenzó como una colección de modelos de estaciones de gasolina en 1994, ha evolucionado en una exhibición artística del trabajo de fotógrafos como Leibovitz – y los cuerpos escasos de ropas de algunas de las más importantes modelos. El calendario no se vende, solamente se distribuye a los socios de negocios de Pirelli, pero hay copias disponibles en eBay. " "The market is being pushed ahead by the publishers and they're not standardizing," he said. "You've got different formats, workflow differences, and widely varying reporting expectations. It's lower quality video and it's smaller. But it's got a benefit in that the viewer is actively watching and there's a response mechanism." Si bien los nuevos productores de video independientes y editores web pueden ser capaces de conseguir públicos interesados con presupuestos y personal mucho más reducidos, es muy evidente que el impacto de comunicación que pueden generar producciones al estilo de Hollywood es proporcionalmente mayor. FADE IN: We hear the sounds of a clicking camera shutter and rapid breathing as we peer through tall grass. Across the field, a gang of men carrying automatic weapons force a group of people from the back of truck. Click. The thugs line the locals up, hands on head. Click, click. It’s over quickly: one woman screams, there are shots, and bodies fall to the ground. The grass rustles as the hidden photographer races through the field, breathless, and not silent enough. Two gunmen hear him, stop and shoot blindly into the grass. We hear a body fall, see dog tags suspended, and the words “Times War Photographer, Harvey Jacobs, was wounded after witnessing the massacre at Nuevo Colon. In a desperate effort, the United Nations sent a vehicle to get him out.” The Viral Video. Todd Herman, MSN Video's streaming media evangelist, said 23 of the top 50 brands have advertised on the service since its official launch in August 2004. They include some of the very biggest companies: Pfizer, Procter & Gamble, General Motors, Johnson & Johnson. New technical capabilities include adding an interactive Flash layer to streaming video, a practice Klipmart calls hotspotting. Such clickable video has obvious implications for product placement, long a gaining concept among marketers in general. Klipmart, eline Technologies and United Virtualities all either offer or are preparing to offer hotspotting. The latest Hollywood blockbuster? A prime-time television drama? Neither. It’s advertising. Or, more accurately, advertising on steroids, otherwise known as branded entertainment. This is the opening to a film called “The Hostage,” produced by BMW and their former advertising agency, Fallon, employing the genius of the A-list director John Woo. To understand why this and seven other BMW films were made, one need only look to the recent challenges that face what has long been a brand’s prime advertising venue: television. Media platforms are multiplying; the internet moves ever-closer to being our primary source of information, music and entertainment; and all while television recording technology allows for easier ad-skipping. Advertisers the world over are searching for new ways to use the power of film to reach increasingly-elusive viewers. It’s easy to be drawn into the drama of these films and forget that they had, from their inception, a purpose beyond that of brilliant entertainment. Our question and that of many others is did they actually work as advertising? The meaningful moments of film are where our thoughts and our emotions come together. This is the essence of a work of art according to McKee, “Because in life idea and emotion come separately. Mind and passions revolve in different spheres of our humanity, rarely coordinated, usually at odds.” Research can be used to identify these privileged moments of a piece of film, the moments where thoughts of the audience and the emotions of the audience come together, by plotting the Flow of Attention against the Flow of Emotion, in a grid like that shown in Exhibits 1 and 2. The images in the upper right hand quadrant of this graph are, by definition, the ones that stand out the most in terms of both audience attention and audience emotions. In a previous Admap article we have shown that these privileged moments (maximum thought + maximum feelings) are the ones where long term advertising memories are formed. These are the Branding Moments of ad film. In “Hostage,” Clive Owen’s character, the Driver, is tasked with finding a female CEO of a huge burger chain. She has been kidnapped by an ex-employee, played by the character actor Maury Chaykin, who when we meet him has merely a passing acquaintance with his sanity. The Driver, pulling up to the kidnapper’s run-down lair in his BMW Z4 Roadster, exits the car. Standing in the street in his white suit, the Driver is the modern-day gunfighter in this homage to the American western—which the skillful camera of John Woo utilizes without losing the film’s contemporary currency. mental and physical strength of the Driver is tested as he races against time riding his BMW stallion to the woman’s rescue—who instead of being tied to the railroad tracks is tied inside the trunk of a car sinking rapidly into the rising tide. In Iñarritu’s film “Powder Keg” a rescue is also taking place, but of a different sort. Clive Owen, again as the Driver, is sent in to rescue a photographer. The photographer has been badly wounded by gunmen he has documented massacring farmers in a remote field in a place called Nuevo Colon. The photographer, played by the accomplished Swedish actor Stellan Skarsgard, is picked up by the Driver in a BMW SUV to be taken across the border to safety, where he can deliver the evidence of this latest act of brutality. Of course, this is not an unencumbered ride, as the “authorities” are not anxious to see the photographer, and especially the film, end up on the other side of the border. A branding-moments analysis of film creates a set of pictures that represents the essence of the film from the audience perspective—the bones of the story. You could easily arrange these pictures into storyboard and use it to describe the film to someone, leaving out no dramatic story event. In terms of the first dimension of audience response, the Flow Attention, what we saw with “Hostage” was that more images made it past the gatekeeper of the mind than were held onto by viewers of “Powder Keg.” If you’ve seen the films, this is easily understood. “Hostage” is a much more visually complex film, with more visual information than “Powder Keg,” which has much of its action on the same dirt road. In terms of the second dimension of audience response, the Flow of Emotion, peak emotional moments were more numerous in “Powder Keg” than in “Hostage.” Again, if you’ve viewed these films, this will not be a surprise to you. “Powder Keg,” with its massacre, martyrdom and grieving mother is moving portrayal of a few minutes in a war photographer’s life. However, as you will see, in branded entertainment as in other advertising the quantity of emotion is not enough. If that emotion is not put to work for the brand, it’s not branded entertainment. But when we look at what moments make it into both peak attention and peak emotion, the branding moments of the film, there is merely a single image of the BMW in “Powder Keg,” compared to 45% of the shots featuring the brand in“Hostage.” Yet, this is not a matter of time on screen; the BMW is actually on screen longer in “Powder Keg” than in “Hostage.” The explanation is tied directly to the way these stories are constructed. Following McKee’s definition, we should be able to demonstrate that the action and the emotional climax tie back seamlessly to the controlling idea of each film. Based on the qualitative research, here is our interpretation of the controlling ideas of these two films: “Hostage”: Life is worth saving even if that life is corrupt. “Powder Keg”: Corruption is worth fighting, even if we fail. . By extension, this concept also points out each film’s protagonist, and what instrument he uses to carry out the film’s controlling idea. In “Hostage,” the Driver rescues the woman and saves her life, only to discover along with the audience that she was having an affair with the kidnapper and then discarded him. The action of the entire film is the saving of her life. And the emotional climax of the film is learning that the life the Drives saved is corrupt. Yet, the data shows the emotional response to the Driver is that of a hero. Positive emotional response to him as he drives into the sunset is not diminished by the quality of the life he saved. Following this controlling idea, the protagonist of “Hostage” is the Driver—the saver of life. The heroic instrument is the BMW Z4—the instrument without which viewers told us they were unsure of his ability to succeed in his quest. Let’s contrast this to the film “Powder Keg.” In “Powder Keg,” the rescue of the photographer is built around his life story. He recounts all the wars, all the photos he has taken trying to change the world and fight corruption. He has sacrificed a home life, and his own life, to this fight. The action of the film is the story of the fighting of corruption. The emotional climax? An ambiguous victory. The photographer wins a posthumous Pulitzer while the Driver brings the dead photographer’s dog tags to his blind mother. Will anything change? Who knows, but the photographer is no less heroic because of it. The protagonist of this film is the one who carries out the controlling idea: the heroic photographer who fights corruption. The heroic instrument then? The film—not the car. Branded Entertainment is not the same thing as Product Placement. In Branded Entertainment, the brand is not placed in the story; the brand is an instrument in the story—you couldn’t imagine another brand in its place. What then does the audience, the final arbiter of these controlling idea theories, have to say? From our qualitative interviews we learned that the BMW was the hero in one movie, but not the other: It was a single statistic arising out of some market research that prompted BMW to try out a new approach to reach their potential customer: 85% of BMW buyers checked out the brand’s website before buying a vehicle. In a bold strategy that would define the current standard of excellence in branded entertainment, BMW decided it would shift from a market “push” strategy to a “pull.” Commissioning eight top directors to make short films featuring their cars, BMW launched those films on its website in 2001, while reducing spending on TV ads. In terms of buzz, the films were an unqualified success. Within the first year of the launch the films had been viewed more than 10 million times. Two million people registered on the site after viewing the films and 60% of those signed up to receive more information via email. Of the registrants, an amazing 94% recommended the films to others, and over 40,000 people volunteered to respond to a survey. By October 2005, when the films were taken down, they had been viewed more than 100 million times and had been reviewed as “cinema” by Time and The New York Times. And yet, after all this evidence of success, BMW discontinued this experiment with branded entertainment. Why? According to a 2005 article in Ad Age, it just got too expensive. Whatever the reason, until now little has been made publicly available on what the Hire series of films actually bought for the BMW brand. As any advertiser working in this nascent field will tell you, entertainment is only half the equation. The branded part, the ability of the films to ring the corporate register in Munich, was always where BMW’s rubber met the road. As advertising researchers, we at Ameritest are interested in understanding how this new genre of branded entertainment works at a deeper level than simple awareness to make a contribution to the brand. So we took upon ourselves to quantitatively test two of the eight BMW Films: “Hostage,” directed by John Woo, and “Powder Keg,” directed by Alejandro Gonzalez Iñarritu. What we found out was that one movie worked very hard to build the brand’s image in the eyes of the consumer; but the other movie did not. As you can see in Table 1, after viewers have seen the “Hostage” film there is a pre-to-post increase in respondent perceptions of BMW as a leader in innovation and dominating the luxury car category. Directionally, there is also a lift for superior handling and an exhilarating driving experience. In contrast, for “Powder Keg” there is actually a decrease, post-viewing, in the perception of BMW as a luxury brand—not surprising, perhaps, in the context of this film that shows the BMW in a poverty-stricken environment. Beyond that, none of the other brand ratings are lifted by viewing this film. From an investment standpoint, therefore, branded entertainment appears to be a highly risky business—with the odds of success seen here being no better than 50/50. Consequently, we wanted to learn how research could be used to manage that risk, as we do for our clients’ traditional advertising films. Our first question to answer, therefore, was why BMW’s brand ratings were being lifted by “Hostage” but not by “Powder Keg.” We believe that to understand how films are working as ads you first need to understand how they are working as films. Every teacher of writing has a way to talk about the guts of a story. Some call it the “core theme,” some the “pulse” of the story, but we find Robert McKee’s film term most applicable—the “Controlling Idea.” Robert McKee, screenwriting consultant and author of the book Story, defines the controlling idea as “a story’s meaning expressed through its action and emotional climax”. Since the making of brands is ultimately about making products or services meaningful to consumers, understanding the processes by which meaning is expressed through the a film’s action and emotional climax—the controlling idea—is of critical importance to understanding how film works as advertising. As we will see, the lens of controlling idea will provides us with a useful conceptual framework for managing the creation of branded entertainment. But to make effective use of the concept of the controlling idea, we researchers also need to ground theory in measurement. We need tools for measuring the audience’s cognitive and emotional response to film—and we need a way to measure, from the audience perspective, the meaning of film images. Ameritest has pioneered the use of picture sorts to measure moment-by-moment audience response to advertising film, both in terms of cognitive processing and emotional engagement. We have published validation work on our Flow of Attention® to show how the rhythm and tempo of visual storytelling peaks are related to attention- getting power and the formation of advertising memories, such as those measured by recall testing and tracking studies. We have also published work showing how a second picture sort, the Flow of Emotion® explains how different dramatic structures can be used to create viewer engagement and persuasion, to move consumers closer to the brand. In these earlier articles we have shown that these two dimensions of audience response to film are independent, providing researchers with two distinct, but equally important, points of view for examining the internal structure of advertising film. But until now, we haven’t shared the full power that you gain when you put the two patterns together—the focal points of the mind and the dramatic beat of the heart—to identify the Branding MomentsTM of advertising film. From a scientific standpoint, “film” is a mechanical system that creates the illusion of movement by reproducing equidistant snapshots of time to create the perception of continuity. The movies were the invention of Edison and Dickson of perforated film for cameras. In this mechanistic view, each of the instants of time captured on the film are equally important for creating the illusion. But from an artistic standpoint, however, movement is related to privileged instants—certain moments in the film that take on particular significance. According to the French philosopher of film, Gilles Deleuze, “. the cinema seems to thrive on privileged instants. It is often said that Eisenstein extracted from movements or developments certain moments of crises, which he made the subject of the cinema par excellence. This is precisely what he called the ‘pathetic’: he picks out peaks and shouts, he pushes scenes to their climax and brings them into collision.” Su película, querido Pirelli, es mil veces más poderosa, más efectiva, más popular cuando nos deje a nosotros, los clientes, los usuarios, los escritores y periodistas independientes que estamos por ahí, tomar su contenido y mostrarlo en nuestros propios sitios. Cuando ustedes, BMW, o Volvo, se den cuenta finalmente que el poder está en compartir, entonces se van a graduar realmente al paradigma de marketing online. No podemos encerrar contenido en la web o este nos morderá. The BMW Internet Movies: The Call, tal es el título del corto, exhibe el poder de una maquinaria de producción de películas al estilo de Hollywood al servicio de la industria publicitaria, experimentando y cortejando los nuevos canales de distribución de medios online. Al finalizar el cortometraje, los títulos de los créditos impresionan por sí mismos por la cantidad de recursos y gente que participó en esta producción de menos de 10 minutos de duración. "It's easy to repurpose TV Ads, but it's not a good idea. Everyone seems to agree, but they keep doing it," said Avenue A/Razorfish's Lanctot. Klipmart is only one of a seasoned pack of rich media vendors hard at work innovating around video. Others include Eyewonder, United Virtualities, Eyeblaster and Viewpoint. domingo, 25 de noviembre de 2007. "Lloyd wasn't hired to sell banner ads," noted Jeff Lancot, VP of media for Avenue A/Razorfish. "If we get a relevant video search engine, it will make a big impact on the adoption of video online," said Lanctot. Part of the blame for the inventory shortage can be laid at the feet of portals and other video aggregators. The OPA's survey revealed 59 percent of people discover online video through random surfing. How much larger would the inventory be if portals did a better job of striking deals with content owners to bring video to their users? El cortometraje está rodado en la Ciudad del Vaticano, aquí en Roma, y retrata una batalla surrealista e intensa entre el bien y el mal, encarnada por un sacerdote exorcista y el furioso auto deportivo con un alma femenina maléfica, protagonizada por Naomi. La historia proporciona una ilustración metafórica altamente visual del slogan utilizado desde hace mucho tiempo por Pirelli "La potencia sin control no sirve de nada." References Deleuze, G., “Cinema 1: the movement image”, Minneapolis: University of Minnesota Press, 1992. Y si bien es cierto que el slogan de la campaña publicitaria de Pirelli es “La potencia sin control no sirve de nada”, después de haber visto algunos de esos cortos de alto impacto, alto presupuesto, le aconsejaría a la industria de publicidad que "Demasiado control, te deja solo." So who's buying the most online video media? "People are consuming their media mid-day," said MSN's Krohn. "It's the new prime time. a period of the day they really couldn't have before." Rapid growth, partly. The Online Publishers Association found more than a quarter of Internet users now watch video online weekly. Jupiter predicts a 64 percent jump in online video ad spending this year. The top video aggregators report daily streams in the millions. No question, the reach is there. Schafer's firm buys three to five million video ad impressions a month. He and other agency heads with large video budgets agree inventory is a problem. On the bright side, he said in-banner ads are a much better prospect for clients than they once were. "Television has got a lot on the Internet as far as history goes, but the evolution of products I'm envisioning will service both parties," he said. "I don't know how long it's going to take, but you're really going to have a hard time distinguishing between the monitor and the box." Aclaración: la versión exhibida en este artículo, es una versión Flash de baja calidad del original que he creado yo mismo. Con el verdadero espíritu de un moderno Robin Hood he tomado la película de Pirelli y la liberé de su sitio web institucional, donde aparentemente estaba bloqueada de manera que hubiera desalentado el intento de muchos usuarios de descargar la película a su computadora. Si Pirelli no se enoja conmigo, The Call puede beneficiar realmente de un alcance y exposición extra significativo mientras que usted y yo ahora podamos llevarlo a cualquier lugar, incluso offline. "Whoever owns the rights to the content is what it's going to boil down to," said Schafer. "Finding it is one thing; consuming it is another. If we make it more available for people to consume, the sky's the limit in terms of being able to integrate [ads] within that content." El corto de 10 minutos protagonizado por la ex-modeloNaomi Campbell y el popular actor John Malkovich es un ejemplo clave de la nueva dirección que las principales marcas automovilísticas están tomando para un mejor aprovechamiento del potencial de comunicación de los nuevos medios y el alcance de distribución de la Internet. Películas online. “I couldn’t stop thinking about the car. maybe another kind of car, it would have fallen off the bridge.” - “Hostage” Viewer “The car seemed out of place. Anyway, it wasn’t about the car. It just happened to be a BMW." - “Powder Keg” Viewer. Películas En Internet: El Corto The Call De Pirelli Muestra El Futuro De La Public > Kiley, D., “The New Wave of Net Films”, Business Week, November 30, 2004. Realities of Online V > By Zachary Rodgers , February 9, 2005. Yahoo, via its Yahoo Music audio and video destination (formerly LAUNCH), is primed for a big video roll-out. While there have been no official announcements, the online ad community seems poised for the portal to unleash a bevy of content. Yahoo is clearly eager to go deeper in the content business, considering the appointment of Hollywood powerbroker Lloyd Braun to head its media division, and the opening of the company's new offices in Hollywood. Los televidentes tienen más canales y medios de dónde escoger y los grabadores de video digital y video bajo demanda les permite saltear las publicidades por completo. FADE IN: An impossibly handsome man guides his convertible up to a dilapidated house squatting on a deserted street. He exits; his white suit glints in the sun as he expertly surveys the landscape from behind impenetrable sunglasses. In his hand: a metallic attaché case. Members of a SWAT team maneuver silently out from behind a fence. The driver takes out his cell phone and dials. A man’s voice answers. The driver says simply “I’m here.” "The state of that kind of ad has gotten a lot better, just in the past year," Schafer said. He credits the improvement to better products from vendors like Klipmart, whose in-banner video ads let the user expand a spot to full-screen proportions. "That presents our clients' marketing assets in a way they were meant to be seen. In many cases, we can have that be in a widescreen, letterbox format." Pero a medida que escribo lo anterior, también me doy cuenta que enormes presupuestos y grandes habilidades de producción importarán menos y menos en la medida que la publicidad se mueva hacia mayor transparencia, responsabilidad y comunicación entre el productor y el comprador, un rasgo que caracteriza el llamado abordaje Cluetrain al marketing corporativo en la era de los nuevos medios. En este nuevo film online (el cual usted puede ver inmediatamente haciendo clic en el botón reproducir en la imagen fija superior) el actor estadounidense y la popular modelo británica actúan en un videoclip de 10 minutos encargado por Pirelli, el fabricante italiano de neumáticos, como parte de una nueva campaña de marketing online. Plenty of other sites are offering very attractive video ad placements. AtomFilms, ifilm, CNN, ESPN and WWE were all variously mentioned by agencies as appealing targets for video ad placements. Hace unos pocos años de, en 2001, la misma BMW comenzó a producir una serie de ocho cortos , dirigido por directores de filmes de mucha atracción como es el caso de Guy Ritchie y distribuidos a través de la Internet. La idea fue imitada por Volvo con un falso documental sobre 32 personas del pueblo sueco imaginario Dalaro, donde se suponía que todos habían comprado autos Volvo S40 en el mismo día. Una cosa que no entiendo que es porque todos estos cortos online sistemáticamente no tienen funciones o una manera que permita la republicación sencilla e inmediata de la película, en cualquiera de las versiones disponibles, en cualquier sitio o blog. "[Pre-roll] has always been available on ifilm, AtomFilms and ESPN Motion," said Treffiletti. "If more sites incorporate video into their sites in a meaningful way, the inventory will increase." Most advertisers still choose to repurpose their TV assets when running online ad campaigns, despite near consensus that the :30 spot is too long. Películas En Internet: El Corto The Call De Pirelli Muestra El Futuro De La Publicidad Online. " El film puede representar una nueva dirección para publicidad de neumáticos, pero no está totalmente fuera del carácter de Pirelli, el cual siempre ha confiado más en publicidad guiada por la imagen, intentado atraer al potencial conductor Ferrari y no a aquellos que se contentan con mirar en vez de comprar. The lion's share of the online video spend goes to in-banner advertising. While in-stream ads are widely considered most effective, media buyers report inventory is a constant problem. To their credit, the portals are trying: Yahoo through its well-known film industry connections, and MSN through its exclusive deals with NBC and Fox Sports, among others. "The Call," está dirigido por Antoine Fuqua, cursos filmes incluyen "Training Day" y "King Arthur." Online video is still in its awkward phase. It's a period akin to the state of rich media four or five years ago, says DoubleClick's Paparo. "The live events we've produced in collaboration with MSNBC are starting to look like real television numbers," said Krohn. "With the Scott Peterson verdict, there was no pre-promotion or announcement. The judge just announced the ruling would be read in a couple minutes. We had over 300,000 streams for that reading."

 

 

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