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Generate CEO Jordan Levin Speaks on the Secrets of Successful Branded Entertainment at AlwaysOn OnMedia NYC 2010

Posted by Jacob Rothschild on February 8th 2010 in Generate Blog

Watch Generate CEO Jordan Levin speak on the secrets of successful branded content at the AlwaysOn OnMedia NYC Conference, February 3rd, 2010.

Jordan joined Russ Axelrod of Microsoft’s MSN Branded Entertainment and Experiences Team, BlogHer CEO Lisa Stone, and intellectual property law expert Janet Cullum, Partner, Cooley Godward Kronish, for a panel discussion moderated by Doug Scott, President, OgilvyEntertainment.

Click here to open a video of the full panel discussion.

SURPRISE! (IT’S AN AD!) - TrendCentral Highlights Improv Everywhere’s “Grocery Store Musical”

Posted by Jacob Rothschild on November 9th 2009 in Generate Blog
SURPRISE! (IT’S AN AD!)
The latest trend in marketing is truly astounding consumers
Click here for the original article.
The rising importance of social media has been drilled into our brains ad nauseam. There’s no denying it, but let’s not forget that there’s more to connecting with consumers than updating one’s status on Facebook. With this in mind, we’ve been noticing more savvy marketers creating “disruption” to seize mindshare among consumers whose senses have become dulled by a world littered with billboards, pop-ups and banner ads. Check out three who’ve managed to surprise unsuspecting consumers with some seriously astonishing next-level performance ads:
Trident’s “ Grocery Store Musical “: Merry prankster collective Improv Everywhere has been staging “impromptu” spectacles in public spaces since 2001. Looking to leverage the quirk factor inherent in IE’s unconventional performances, Trident recently sponsored one of these gonzo shows. The gum brand gave Improv Everywhere complete creative control over both the concept and the location. Perhaps recognizing that the Muzak interpretations of The Doors and The Beatles typically piped into the supermarket aisles are, in a way, blasphemous, Improv Everywhere decided to stage comedic musicals in the produce section of a Queens grocery store. Incognito shoppers suddenly burst into song, amazing the real cart-pushers amidst the boxes of tomatoes. A hidden camera video of it all was published online where Trident’s sponsorship of the show received a shout out after the finale - with links to its Facebook and Twitter pages, natch.
Daffy’s “Fitting Dance” : Movie theatres, what with their captive audiences and all, can be an advertiser’s dream. (Have you ever tried squeezing your way out of a center seat during a pre-feature trailer? Forget about it.) While commercials shown before the 20 minutes of Coming Attractions are now the norm, most cinema patrons tend to use those last moments to finish their conversation about how insane it is that a box of Junior Mints costs $6 at the concession stand. Wise to fading attention spans, discount fashion retailer Daffy’s recently startled audiences at NYC’s Ziegfeld Theatre with a three-and-a-half minute live dance performance, in which ten dancers “go a little crazy” trying on their clothes. Not until the end when they were gifted with 20%-off Daffy’s coupons did consumers realize that it was an ad.
Michael & Michael Have Issues Live Commercials: Seemingly, Comedy Central has recognized that their demo is not too likely to stick around through a commercial break, opting to fast forward through the ads or take a Twitter break instead. In fact, many young viewers only watch television commercials when someone sends them a YouTube link to one. Turning the traditional 30-second spot on its head, the titular Michaels (comedians Michael Ian Black and Michael Showalter) of Michael & Michael Have Issues perform sketch ads for brands such as Palm, Dunkin Donuts, and Klondike during what would normally be commercial breaks. Mad Men team, are you listening? We’ll probably buy anything Don Draper tries to sell us.

Social Media Revolution - YouTube

Posted by Generate Studios on August 21st 2009 in Generate Blog

Is social media a fad? Or is it the biggest shift since the Industrial Revolution? Welcome to the World of Socialnomics!   Check this out:
http://www.youtube.com/watch?v=sIFYPQjYhv8

Generate’s New Web Series “The Lake,” directed by Jason Priestley, Premieres Today on TheWB.com

Posted by Generate Studios on August 10th 2009 in Generate Blog

Check out the first 4 episodes of Generate’s new web series “The Lake,” directed by Jason Priestley.  If you liked the old WB shows, you’ll love this!

Click below to check it out:
TheWB.com:
http://www.thewb.com/shows/the-lake
Hulu: http://www.hulu.com/search?query=The+Lake
iTunes: http://itunes.apple.com/WebObjects/MZStore.woa/wa/viewTVShow?id=324347622

If you haven’t already, please join Generate’s Facebook Group and Twitter page to keep updated on all of our announcements (we will friend and follow back):
http://www.facebook.com/group.php?gid=19057845906&ref=ts
http://www.twitter.com/generate

Thanks, your support is greatly appreciated!

 

Patrick Duffy & ‘A Crab’ Watch American Idol (Huffington Post)

Posted by Generate Studios on August 5th 2009 in Generate Blog


Patrick Duffy And The Crab

As some of you may remember, the last time they were together things got a little blue. The Crab claimed he, Courtney Cox and the wardrobe lady got it on at the first season wrap party for “Friends” in 1994. The discussion grew in odd ways from there and we’re pretty sure that had the video not cut off, the two would’ve ended up making out.

This episode is a little more contentious. The Crab disagrees with Patrick when he says he could be the next American idol. Shel tells Duffy he’s too old and not a very good singer, reminding us of the time the Crab dared Patrick to eat a dime and he did it. They obviously have a very deep and layered relationship that forces their insecurities and competitive sides to get the better of them on occasion, especially when the Crab feels the need to dominate Duffy. We think Dr. Phil would have a lot to say about the way they interact.

CHECK OUT THE EPISODE HERE

Article: http://www.huffingtonpost.com/2009/08/05/patrick-duffy-and-a-crab_n_251833.html

It’s On with Alexa Chung featuring Generate client Christian Finnegan

Posted by Generate Studios on August 4th 2009 in Generate Blog

 

7.28.09 - Alexa Chung and Christian Finnegan talk gut-wrenching celeb breakups, juicy Jonas lyrics, Madonna’s less-than-flattering recent pics and Kelly Clarkson and Beyonce’s ’same-song’ mishap.

 

CHECK IT OUT HERE! 

Comedian Talks ‘Dave Hill Explosion’ (New York Post)

Posted by Generate Studios on July 17th 2009 in Generate Blog

By MANDY STADTMILLER
July 17, 2009 

Musician and comedian Dave Hill hosts the monthly Upright Citizens Brigade stage show “The Dave Hill Explosion” in New York with special celebrity guests like public radio’s swoony, bespectacled Ira Glass.

In 2007, Variety magazine named Hill one of their “10 Comics to Watch” and his rock band Valley Lodge tours Japan — where he’s actually kind of famous.

The Post’s Mandy Stadtmiller recently caught up with Hill to find out what makes him tick — and specifically, what makes him get naked on stage, set off firecrackers and ask Glass if he’s ever stepped on a rodent.

Most recently, Hill showed that he’s a truly fearless performer when he performed at the Sing Sing prison in Ossining, NY.

“It was their first ever comedy show,” he says.
http://www.nypost.com/seven/07172009/entertainment/comedian_talks_dave_hill_explosion_179626.htm

Sluggish TV Upfront Doesn’t Benefit Online (paidContent)

Posted by Generate Studios on July 13th 2009 in Generate Blog

 

The TV upfront negotiations between agencies and networks appears to be moving forward after a period of paralysis, but you can dismiss any thought of online video benefiting from the recent impasse or from the sudden spurt of deal-making. For one thing, sources say, the current system, whether spending is up or down, still tends to view online video as an after-thought or an experiment. And when budgets are tight, experiments are the last thing to be funded.

In particular, cross-platform deals are expected to remain more sidelined than in previous years. Total dollars are down, says Carrie Drinkwater, director of national broadcast for Havas media buyer MPG, and TV/online ad tie-ups aren’t attractive enough to get advertisers to up their spending. “While the slowness of this year’s upfront process gives advertisers and networks gives the parties involved more time to create something above and beyond the traditional banner ad, it’s simply not viewed as crucial,” Drinkwater told paidContent.

“Even though there is not going to be as big a push in terms of spending, I think there will be more creativity. I would expect more branded integration deals on TV and that will certainly be extended to online, as well as the use of sweepstakes and similar promotions. But these deals will not be raising the needle in an perceptive way.”

Bottleneck: Web video is still one of the stronger advertising categories when it comes to spending growth. Some may have thought that the indifference to striking a TV deal could lead to more consideration for online video but that doesn’t seem to be the case. In fact, the bottleneck in TV deals the past few weeks only highlighted the real impediments the space has in terms of doing bigger deals. Even though average CPMs for online videos tend to be lower than what’s offered in primetime, agencies and advertisers are still reluctant to take a chance and invest more of their budgets in digital, said Jordan Levin, the former WB CEO who went on to co-found the multi-platform video production and talent management firm Generate. While Generate’s broadband series The Lake debuts on TheWB.com next month with the backing of what Levin calls a “major sponsor” he says he has agreed not to identify, such deals are not being tied to the upfront season. Levin: “More money should be moving to digital, given that audiences are shifting. But there’s so much legacy investment, coupled with fear and uncertainty, there’s a greater emphasis in the industry in talking up the effectiveness of TV versus online video.”

No upfront for online video: One thing online video doesn’t have going for it is an organizational structure to promote sales—like an upfront market. Every once in a while, someone floats the idea for a marketplace around online advertising, especially for video, which in the minds of many traditional ad industry professionals feels more familiar. Despite individual attempts like Microsoft’s upfront-like presentations for its online programming, Levin doubts that a comparable system can be established for the web. “The upfront was always an artificial marketplace intended to force buying during a specific period of time. Because marketers were more engaged in reach and frequency strategy, as opposed to an efficiency strategy that’s associated with the web, the idea that there are ‘must-buys’ is becoming less and less relevant. There’s no brand marketer screaming at their buyer that they’re going to be shut out.” In general, there are a nearly infinite set of options for advertisers right now. Therefore, the worry of not getting your message out doesn’t exist, and that will continue to degrade the value of an upfront—for both TV and online.

Amid Upfronts, Brands Experiment with Web

Posted by Generate Studios on July 6th 2009 in Generate Blog

July 4, 2009
By T.L. Stanley Brandweek 

Meet Simon, a laid-back groom who’s in way over his head in the world of wedding planning. And meet Rochelle, a budding bridezilla prone to shrieking meltdowns over flower arrangements. Watch these two head toward the Big Day, mockumentary style, and wackiness will no doubt ensue.

That’s the premise of a new series called Road to the Altar from MWG Entertainment, a Los Angeles  digital production house that has gathered Pier 1 Imports, iRobot and Panda Express as brand integration partners and got semi well-known actors like Jaleel White (Urkel from Family Matters) and Leyna Weber (of Days of Our Lives) as stars. But don’t look for the show on any of the broadcast or cable networks. It’s available via YouTube, Joost, Sling and various mobile platforms.

The series is part of a burgeoning trend that has marketers partnering with Hollywood producers to embed their products into digital entertainment as a low-cost, low-risk addition to broadcast or cable. As the TV upfronts stall and ad budgets contract, marketers may increasingly turn to this kind of tailor-made entertainment that they can own, surround and promote.

For example, NBC Universal’s digital unit this winter presented a slate of in-development programs to advertisers, opening up those pieces of content early in the creative process to brand integration. So far, there’s a deal with Coca-Cola’s Nestea for placement in a short-form series called CTRL [see page 6]. More such alliances are in the works. Kraft’s Tassimo, Unilever’s Suave, AT&T and Procter & Gamble’s Tampax are stitched into online films that blur the line between selling and entertaining. 

In some cases, such shows are drawing audiences on the scale of broadcast shows. Haute and Bothered, a Web series backed by LG Mobile and produced by Alloy Media + Marketing, has been viewed by 6 million people so far, and In the Motherhood, a Web series backed by Sprint Nextel and Unilever, racked up 17 million hits before hopping to TV as a short-lived sitcom. The yardstick used depends on the brand, but industry vets say that between 15 million and 20 million views for an eight-to-10 Webisode series is considered a hit.

The appeal for such vehicles is obvious: Industry veterans say it costs anywhere from $5,000 to $50,000 per episode to produce an original Web video series, with distribution and promotion costs usually double that amount. When it’s finished, there’s an hour or more of entertainment that can appear on multiple platforms, such as in-store networks, e-mail, blogs, mobile devices and interstitials for TV. In comparison, a traditional TV spot can cost as much as $1 million just for production, not including media buys.

On the downside, there’s a risk that no one will tune in. For instance, episode 1 of Road to the Altar, which launched in mid-June, has so far only gotten about 3,000 hits on YouTube. For their part, the networks don’t appear too worried about the competition yet. “They’re not diverting substantial dollars, but they’re dabbling and they’ll continue to do so,” Mike Davis, executive producer at Brand Arc, a branded entertainment firm, said of advertisers. “As the eyeballs justify the spending, they’ll funnel more into this area.”

That said, marketers that are dabbling in Web-only series are wary of repeating the errors of Anheuser-Busch’s Bud.TV, a $30 million attempt to turn the site into an entertainment portal. Keeping costs down (the production value on some online shows appears to be one step above Ed Wood’s Plan 9 From Outer Space), getting some well-known (but cheap) stars and tapping existing well-trafficked Web channels are three ways marketers are hedging their bets. 

Lexus, for instance, is planning to broaden the audience for Web Therapy, an improv comedy series starring Lisa Kudrow with distribution on Hulu, iTunes and elsewhere. 

Meanwhile, the efficacy of product integration in such Web-only series is hardly proven. Road to the Altar includes some  placement by the sponsor. (The couple’s “wedding command center,” for instance, includes Pier 1 products with tags; at another point, the couple get a delivery of Panda Express food.) Robert Kandle, MWG’s vp-development, said he believes such placement is unobtrusive: “The guiding motivation for us is that they move the story forward.”

Producers and writers in Hollywood have become more comfortable with including marketers in the development process, said branded entertainment vet Stuart McLean, who helped barter the deal for the Unilever-sponsored Web series Love Bites. Both seem to be figuring out the medium together, said McLean, now CEO of Content and Company. “Just because you involve a brand early on in the conversation doesn’t mean the creative will suffer,” he said. “Both sides are working to build something custom and original with real entertainment value.” 

Foes No More, Ad Agencies Unite With Internet Firms (NYTimes)

Posted by Generate Studios on June 30th 2009 in Generate Blog

CANNES, France — Advertising agencies and Internet companies once viewed each other as foes, but are now coming together to harness the potential for online advertising. Like many other segments, online ad spending has slowed from its previous breakneck pace during the deep recession, forcing companies to devise new ways to chase fewer dollars.

Last week, Eric E. Schmidt, the chief executive of Google, and Steven A. Ballmer, his counterpart at Microsoft, for the first time attended an annual advertising industry meeting, the Cannes Lions International Advertising Festival.

With consumers spending more and more time online, analysts say Internet companies and ad agencies have no choice but to work together to develop ways to make money from digital media.

“There was an air of inevitability about it, because of the model not really working yet, and there’s so much content that will be dependent on it working,” said Paul Kemp-Robertson, editor of Contagious, an online magazine that tracks digital marketing trends.

Microsoft and Google, along with rivals like Yahoo and AOL, are looking for growth from new kinds of ads, including online video spots. But they need advertising agencies to persuade their clients to embrace these formats. Many companies are preferring to place ads linked to search engine results, whose effectiveness can be directly measured.

Microsoft made it clear that it wanted to cooperate, announcing partnerships with two leading advertising companies, WPP Group and Publicis Groupe. Yet Mr. Ballmer expressed skepticism about the extent to which advertising could be used to finance an explosion of online content.

Advertising agencies have long been big customers of Google, Microsoft and other Internet companies, shifting an increasing portion of ad budgets online. WPP Group, the largest ad agency owner, spends $850 million a year of its clients’ money with Google, according to Martin Sorrell, WPP’s chief executive. Ninety-eight percent of Google’s revenue comes from advertising, largely from “sponsored links” that appear alongside its search results.

Mr. Sorrell once called Google a “frenemy” of the ad industry, a characterization that reflected the Internet giant’s efforts to move into businesses like media buying, which in the past have been controlled by the likes of WPP. Agency executives also complained that Google remained aloof, spending hardly anything on advertising itself.

Asked during an onstage interview with Maurice Lévy, chief executive of Publicis, whether he even liked advertising, Mr. Schmidt insisted: “We love advertising.”

Microsoft, minus its chief executive, has been a prominent participant at the ad festival for several years, bringing hundreds of employees to the event. It is also a big advertiser, spending $700 million a year, according to Mr. Ballmer. But the breadth of its ambitions — in addition to buying and selling ads, the company owns an agency that creates them — has also caused alarm in some advertising quarters.

Analysts say the rivalry between Microsoft and Google may also play into their overtures to the ad industry. While Google has dominated the search business, Microsoft introduced a new search engine, Bing, last month. It has lifted Microsoft’s share of online searches in the United States to about 12 percent, according to ComScore, a research firm, from 8 percent for Microsoft’s previous engine.

Mr. Schmidt acknowledged that Google had, in recent months, found itself in the unfamiliar position of stumbling on certain projects, including efforts to develop systems for selling newspaper and radio advertising. He said marketers were also lowering their bids for keywords on Google’s search engine, where ads are sold through online auctions.

Google has also struggled to generate significant advertising from YouTube, its online video-sharing service. Mr. Schmidt said he had high hopes for new kinds of advertising formats on YouTube — some of which, he added, were developed through a partnership with Publicis.

That agreement, which has taken shape over the last year, represented the start of a thaw in the previously frosty relations between advertising companies and Internet giants.

Since then WPP has also struck a deal with Google to examine the future of digital advertising.

Last week in Cannes, WPP, whose agencies include Ogilvy & Mather and Grey, Young & Rubicam, announced a separate research deal with Microsoft.

Publicis, whose agencies include Saatchi & Saatchi and Leo Burnett, also moved to balance its partnership portfolio, announcing a broad agreement with Microsoft. The companies said they would jointly develop new kinds of digital advertising for a range of devices, including personal computers, mobile phones and Microsoft Xbox game consoles. They said they would also work on ways to send tailored advertising to individual television viewers’ sets.

Darren Huston, corporate vice president for Microsoft’s consumer and online businesses, described the linkup as “a major step forward in the relationship between our industries.”

In addition to generating new business, he said, Mr. Ballmer intended the partnership to send a signal to Microsoft employees about the benefits of working with the ad industry.

“It’s about the tone at the top,” Mr. Huston said. “What I’m saying, and what Steve is saying, is, ‘Here are some folks we’re going to work together with to crack some code.’ ”

Analysts say there may be another reason for the new friendliness between Microsoft and companies like Publicis and WPP. Microsoft has been trying to sell a digital ad agency, called Razorfish, which it acquired two years ago when it bought the agency’s parent company, aQuantive, for $6 billion.

WPP and Publicis have reportedly been among the potential buyers; both companies declined to comment.


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