Archives de catégorie : Video Marketing

Viral creepy clown video turns out to be haunted house marketing …

AGAWAM, MA (WWLP) – Halloween scare tactics that could give you nightmares, have proven to be a haunted house promoters dream.

Creepy clowns have started popping up across the nation as Halloween approaches.

It’s creepy even if you already know who is under the mask but for 1.5 million people that viewed this viral video, it is enough to cause nightmares. A clown, with balloons carrying a sign reading Free Hugs outside of Geisslers Supermarket in Agawam running after a car.

“We shared it on Facebook before you know it people thought it was a real clown, it was their cousin in the car,” said Matt Del Negro.

Mark Del Negro made the video with his partners to promote the first Scare Fest taking place at the Eastern States Exposition Storrowton Village from October 13th to Halloween. Mark said it took them three tries to get the video right and no one walking along was included.

It’s enough to keep you up at night even if you aren’t scared of clowns. The men behind the mask say this is top of the line prosthetics straight from Hollywood because they’ve worked on film productions in the past.

Del Negro said the reactions have been mostly positive, but said he had to tell one neighbor it was fake, “He actually thought it was real and was actually ready to create a mob to go and look for the clown. I had to tell him that. I was like dude that was a fake video don’t get all upset about it. On his Facebook post he said, ‘they picked the wrong town’ and he’s a big dude and I was like dude we didn’t pick any town it was like five minutes away from my house.”

Del Negro said he apologizes to anyone that may have been offended, “We were never intending to put anyone in danger or scare anyone. We were just trying to make a really bad viral video with our cell phone and I guess it was better than the actual commercials we paid for.”

The 18th century Storrowton Village will have a room dedicated to just creepy clowns during Scare Fest.

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How ANA is using CNN’s social video network Great Big Story to find the ‘Japan curious’

Japanese airline All Nippon Airways wants to attract more European customers and has picked CNN’s social video network Great Big Story to create and distribute its message.

The result is a seven-part video series,“Ichigo Ichie,” which translates to “One Opportunity, One Encounter,” which focuses on Japanese cuisine, culture and hospitality. GBS is no stranger to creating popular videos about Japanese cuisine, having made ones like this: “High-Stakes Dining: Dare to Taste the Poison Puffer Fish?” which has been viewed 1.4 million times on YouTube. ANA wanted to tap into the “Japan curious” among GBS’s younger-skewing audience, to showcase Japanese culture.

“Food is a huge part of our heritage; it’s an art form,” said Nani Murakami, assistant manager European marketing for ANA Europe. “We wanted to create a truly authentic, quintessentially Japanese experience with these videos. That kind of feeling is lacking in marketing and advertising about Japan. These videos capture the real Japan.”

Great Big Story was created last year as CNN and parent company Turner’s answer to younger digital media competitors like Vice and BuzzFeed. ANA wants to reach in the U.K., France, Germany and Belgium. The native ads will also run across the CNN Digital network, which gets 3 billion monthly pageviews, according to CNN.

“ANA wants to attract business travelers on CNN International TV and digital channels, but also the smart young people who are viewing content on Great Big Story. This is the first time we’ve married up both platforms,” said Owen Wyatt, head of U.K. ad sales, CNN International Commercial.

Each video is roughly three minutes long and centers on busting misconceptions around Japanese culture and food. The first video, which went live on Oct. 3, is titled “Why is wasabi so hard to grow”  and hammers home the fact that no one outside of Japan is eating authentic wasabi, but horseradish dressed up as the real thing. It then explains that’s the case because wasabi is nearly impossible to grow.

Other videos include “What is the diet of a sumo wrestler?” and “How can art and tofu combine for a unique restaurant experience?” They will run on the Great Big Story website, apps and YouTube channel. Videos will be repurposed for social channels like Facebook, Twitter and Instagram. And stills and additional video footage from the production process will also be used for social distribution. Great Big Story claims it has 10 million followers across its own site, app and social channels.

Great Big Story’s core team of 30 people is New York-based, but it has a big focus on international stories.

Not to be outdone, ANA took a more involved role in the creation of an eighth video, devised by both the brand’s marketing team and CNN’s in-house creative shop CNN Create. Branded content deals now account for half of CNN International’s entire commercial revenue.

The branded content video will be the third video to be published and follows the artist Fuyoh Kobayashi, who is a master calligrapher and owner of the Shoraian restaurant. This restaurant is perched on the edge of a mountain overlooking the river Oi, but it can only be reached by a hike through the forest: No car can get to it. Shorairan is considered the best tofu restaurant in Kyoto, and Kobashi’s art work adorns its walls.

This is the first branded content campaign ANA has run in Europe.

Free seminar focuses on helping create compelling marketing content

The Oklahoman Media Company has put together a Free Business Builder VIP Event to share tips on creating compelling content.

The free event, from 11:30 a.m. to 1:30 p.m. Friday at the Devon Boathouse, 725 S Lincoln Blvd., includes a complimentary lunch. Sign up at oklahomaunfolded.com/events.

Experts will discuss brand journalism, video storytelling, effective blogging and more. Every business that attends is qualified for a free evaluation of their online presence from digital marketing experts at BigWing Interactive.

The Oklahoman Media Company is parent of BigWing, The Oklahoman and NewsOK.com.

Content marketing provides a way to connect with customers. It provides the opportunity to increase customer loyalty and boost a brand while telling consumers the brand’s story.

But creating the right content can be an elusive endeavor, even for those with solid content creation experience. Here are four common misconceptions about content marketing and how to overcome them.

I’ve got a blog, so my content marketing is covered, right?

Blogging’s great for content marketing. It can help drive traffic to your website, increase SEO rankings and allow a business to stay top of mind with customers. A blog can even become a lead-generating machine.

But content marketing shouldn’t stop at blogging. Effective content is about much more than posting a keyword-stuffed blog to a website every week. It’s about engaging customers and creating value for a brand. So consider additional channels for content, like video.

The Content Marketing Institute notes, “Video is taking over the world, with more than 4 billion hours of video viewed each month. In fact, YouTube is now the second-most used search engine, right behind Google.”

I want grade A content, but I can’t afford video

You may not have the budget to spend thousands creating new commercials, but your head of marketing or co-owner has a great idea for multipart video campaign. It involves “Rocky” theme songs, stunts and exploding cars.

While this may sound like a killer idea in theory, keeping content simple, and affordable to produce, is important. Especially in the DIY game. Remember, Hollywood movies and Coke commercials have huge budgets and their content often still misses the mark.

A big helping of creativity mixed with audience research and practical assessments of time, budget, and planning is a surefire recipe for stellar videos with engaging content. And even if marketing money is lacking, a solid, simple script that possesses a story arc is key.

Make sure to include a “pain point” or need that is important to customers, and don’t forget the essential Call To Action.

I’ve written the blog and made the video, my job is done

There’s more to content marketing than hiring a SEO-trained blogger to write weekly updates and a local video company to produce four killer commercials. Content marketing requires a solid distribution plan. Producing amazing content doesn’t mean the world is seeing it. Content doesn’t gain visibility without a delivery strategy behind it.

The testimonial you shot last week likely won’t go viral, but compelling content has the potential to motivate an audience to take action if it’s properly distributed. Having a standard checklist of places you promote content is essential to not missing a promotional opportunity. Remember, Twitter users are different from those of Instagram, so don’t just post the same link across all platforms; keep things interesting by varying your messaging.

What is brand journalism and how is it marketing

The term “journalism” may not prompt one to think about content marketing, or marketing at all. But something known as “brand journalism” is emerging as a new form of content marketing. BrandJournalists.com explains brand journalism as, “involving telling journalism- style stories about a company that make readers want to know more, stories that don’t read like marketing or advertising copy.”

As consumers grow more savvy, they also are more weary of direct sales and marketing messaging. Big companies such as Intel, IBM and GE have taken notice of this trend and are getting into the brand journalism game. Brand journalism is a great way to have a conversation with customers instead of bombarding them with bullet points about why products are so great.

Viral creepy clown video turns out to be haunted house marketing stunt

AGAWAM, MA (WWLP) – Halloween scare tactics that could give you nightmares, have proven to be a haunted house promoters dream.

Creepy clowns have started popping up across the nation as Halloween approaches.

It’s creepy even if you already know who is under the mask but for 1.5 million people that viewed this viral video, it is enough to cause nightmares. A clown, with balloons carrying a sign reading Free Hugs outside of Geisslers Supermarket in Agawam running after a car.

“We shared it on Facebook before you know it people thought it was a real clown, it was their cousin in the car,” said Matt Del Negro.

Mark Del Negro made the video with his partners to promote the first Scare Fest taking place at the Eastern States Exposition Storrowton Village from October 13th to Halloween. Mark said it took them three tries to get the video right and no one walking along was included.

It’s enough to keep you up at night even if you aren’t scared of clowns. The men behind the mask say this is top of the line prosthetics straight from Hollywood because they’ve worked on film productions in the past.

Del Negro said the reactions have been mostly positive, but said he had to tell one neighbor it was fake, “He actually thought it was real and was actually ready to create a mob to go and look for the clown. I had to tell him that. I was like dude that was a fake video don’t get all upset about it. On his Facebook post he said, ‘they picked the wrong town’ and he’s a big dude and I was like dude we didn’t pick any town it was like five minutes away from my house.”

Del Negro said he apologizes to anyone that may have been offended, “We were never intending to put anyone in danger or scare anyone. We were just trying to make a really bad viral video with our cell phone and I guess it was better than the actual commercials we paid for.”

The 18th century Storrowton Village will have a room dedicated to just creepy clowns during Scare Fest.

Collaboration Is Critical to Reduce Latency in Online Video

When we think about what’s happening in the video space—the gradual transition from broadcast to online distribution—one comparison between TV and online video always comes to mind: “broadcast quality.” I know that I write and talk about this comparison until I’m blue in the face, but here it is again: Online video needs to meet the expectations people have developed for the video experience by watching broadcast television over the past 30 years. But we most often equate broadcast quality with the end user. So the focus of content owners, distributors, network operators, and over-the-top (OTT) providers has been on improving buffer rates, reducing in-stream failures, eliminating play failures, and making engagement (like how long a user watches a video) better. Technology providers such as Conviva, IneoQuest, and Nice People at Work are all making their living by focusing on this aspect of the problem.

But that focus has left a host of inefficiencies and latency in other parts of the value chain— encoding, packaging, protection, delivery, and more. Throughout the workflow, things are slower than they probably need to be as content moves from acquisition to playback. Some of that slowness is a consequence of the physical hardware (routers, switches) and the public internet, while other degradation is a result of poorly cobbled-together solutions.

Think about it. The television industry has had decades to mature, to build workflows that work seamlessly and employ technology that is based on ratified standards mandated by governmental agencies. Online video, on the contrary, is only a fraction of the age and has no guidance. Companies will solve technical streaming problems with duct tape and bubble gum if necessary, focusing more on just getting the workflow (with all its disparate components) to work together in some fashion rather than worrying if it’s the best way to accomplish the end task.

We can call this ugliness the “back end” of broadcast quality. Failing to optimize it means, ultimately, failing to provide consumers with the kind of experience they expect because the back end impacts the front end. Whether a user has to wait a few extra seconds for just-in-time packaging or an extra hour for content to become available because of workflow inefficiencies, latency in the workflow and value chain have adverse effects on the entirety of the experience. People don’t have to wait for TV.

In order to squeeze latency out of the workflow, online video technology companies need to rally around collaboration. Failing to expose APIs or enable third-party companies to work with platforms and technologies just promises to slow down the video value chain even more. Instead of focusing on how to optimize front-end key performance indicators, perhaps OTT providers should look at how to optimize the interoperability between the different vendor technologies that comprise its publishing and delivery processes. By turning attention away from the front end and toward the back end, content distributors can probably squeeze a considerable amount of wait time out of the system while also improving the overall integrity, resiliency, and operation of their platforms.

It’s not hard to make the argument that we need standards. The online video industry needs guidance, clarity, and best practices. But collaboration is just as important as the documentation to build high-quality, consistent streaming services. At the Streaming Video Alliance, for example, competitors come together in an effort to optimize the value chain, balancing their own needs against the much broader needs of the industry as a whole. This kind of collaboration is critical to reducing that latency because without the intention by technology companies to work together, content distributors will be left with Frankenstein systems woefully in need of optimization. And that will mean more latency in the back end of broadcast quality.

For the good of the industry, vendors must collaborate better. And when that happens, there’s a far better chance that online video will provide the broadcast-quality experience that consumers expect.

[This article appears in the October 2016 issue of Streaming Media magazine as « Collaboration Is Critical. »]

Programmatic video advertising spend takes off with main focus on YouTube

Advertiser adoption of programmatic video is on the rise, with 60 per cent of U.S. digital video ad spending expected to be transacted through programmatic channels this year.

emarketer logo

This will be a substantial increase from the 39 per cent share held by programmatic video over last year, with an eMarketer report stating that one of the main contributors to programmatic video ad spending growth is YouTube. Further, latest estimates indicate nearly 21 per cent of US digital video ad revenues in 2016 will be spent on programmatic video and YouTube will benefit with its size and early adoption of programmatic advertising.

Programmatic video is the use of software to purchase digital video advertising. The benefit of programmatic video versus traditional video ad buying is that it uses real-time data to get a video ad in front of the right customer at the right time.

The report suggests that the programmatic ad category indicates that video’s share of total U.S. programmatic digital display ad dollars is somewhat smaller (24.5 per cent). This can be largely attributed to the limited supply of video ad inventory.

Multiple factors will drive programmatic to account for nearly three-quarters of US video ad spending by 2018, the report suggest. Additionally, greater comfort with programmatic technology and audience-based selling will drive publishers to offer a greater portion of their inventory for purchase programmatically.

As advertisers increase their demand for more audience-informed video, publishers must turn to programmatic to enable such data-driven capabilities to increase. Additionally, many are comfortable doing so now that programmatic ad technologies have matured enough to allow publishers to ensure that the final product is similar to traditional direct-sold agreements.

Further, as comfort grows, publishers will make available a greater portion—and a more premium portion—of their inventory to advertisers willing to pay more to reach the right audiences.

Overall, programmatic ad spending in the US is exceeding projections, and will continue to grow at double-digit rates for the next several years. The report indicates that this year, programmatic will account for 73.0 per cent of all US digital display ad spending, a higher portion than previously estimated. Programmatic’s share will continue to climb over the next couple of years, reaching 82 per cent of US digital display ad spending, or $37bn by 2018.

CRM solution LionDesk roars into real estate video marketing

Have suggestions for products that you’d like to see reviewed by our real estate technology expert? Email Craig Rowe.LionDesk is a fully featured CRM system that is used more than 800 markets and 10 countries by several thousand real estate agents.For the last couple of months, the company has been beta testing video email and texting with its customers, a feature that typically requires the assistance of a third-party provider, like OneMob or BombBomb.LionDesk’s video email is built directly into its Communications module and videos can be recorded directly from the compose window. They can be saved as templates and re-used.Text videos are smartly limited to 20 seconds; emailed videos can be up to two minutes.Any contact within a database can be sent a video messa…

Wally West Says Don’t Call Me Kid Flash In New Flash Video

Ahead of Tuesday’s season premiere, The CW has released a new featurette introducing Wally West (played by Keiynan Lonsdale) as Central City’s newest speedster. We quickly find out Wally isn’t keen on the name Kid Flash; though, it is the name his comic book couterpart is often referred as, helping differiantiate him from other Flashs in the DC Universe. However, he might be stuck with it on the show since Barry Allen (Grant Gustin) and his sister, Iris West (Candice Patton), dig the name.

« The end of last season, after the loss of his father, Barry decided to go back, change the timeline, save his mom, which changes everything, » Lonsdale says in the video. « The major change, and the most obvious change for Wally, is that he’s now The Flash. I wasn’t expecting it at all. I was expecting to transition into Kid Flash so soon. But because of Flashpoint, anything can happen really. So, it was just exciting. As soon as I read the script for 301, I was over the moon »

WHAT WOULD YOU SACRIFICE TO HAVE EVERYTHING YOU’VE EVER WANTED? — Barry (Grant Gustin) is living his dream life – his parents are alive, he’s asked Iris West (Candice Patton) on a date and he can finally be a normal guy as Central City has another speedster, Kid Flash (Keiynan Lonsdale), running around saving the city. When Barry starts forgetting parts of his old life, the Reverse Flash (guest star Matt Letscher) taunts his nemesis and tells him that there will be serious repercussions for Barry and the ones he loves if he continues to live in this alternate universe. In addition to losing his memories, his powers will also start to fade. When disaster strikes, Barry must decide if he wants to continue to live in this world as Barry Allen or return to his universe as The Flash.

Based on the characters from DC, THE FLASH is from by Bonanza Productions Inc. in association with Berlanti Productions and Warner Bros. Television, with executive producers Greg Berlanti (“Arrow,” “Supergirl”), Andrew Kreisberg (“Arrow,” “The Flash”), Sarah Schechter (“Arrow,” “DC’s Legends of Tomorrow”) and Aaron and Todd Helbing.

See Keiynan Lonsdale as Kid Flash on the season premiere of The Flash, Tuesday at 8/7c on The CW!

Un jeune homme perd la vie en VTT à Laurierville

L’individu était accompagné d’un jeune homme de 19 ans, qui a survécu à l’embardée. Les deux amis circulaient vers minuit dans un sentier forestier privé près de la rue du Boisé et auraient « passé tout droit » à une intersection en T, selon la Sécurité du Québec.

« Le survivant, l’homme de 19 ans, a perdu connaissance, mais il ne sait pas combien de temps. Ensuite, il est allé cogner à une résidence sur la rue du Boisé pour demander de l’aide. Il était très confus et ne savait pas ce qui s’était passé », indique le sergent de la SQ Ronald McInnis.

Arrivés sur place, les pompiers et les ambulanciers se sont rendus dans le boisé près de la rue pour ratisser le secteur, puisque l’individu de 19 ans ignorait où l’accident s’était produit. Ils ont finalement trouvé non loin de là le VTT et le corps inanimé de la victime de 23 ans.

« Les deux hommes ont été transportés à l’Hôtel-Dieu de Victoriaville, où le décès de celui de 23 ans a été constaté », mentionne Ronald McInnis.

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