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Branded entertainment, also known as branded content or advertainment, is an entertainment-based vehicle that is funded by and complementary to a brand's marketing strategy. The purpose of a branded entertainment program is to give a brand the opportunity to communicate its image to its target audience in an original way, by creating positive links between the brand and the pr ogram. These projects are often the result of a content partnership between brands, producers and broadcasters. Branded entertainment started with the advent of television in the 1950s, and man y programs were sponsored and tied to one specific sponsor, like the early " soap operas". As advertisers began to shift to thirty second commercials, the practice began to fade until the late 1990s. Today they have become the way for advertisers to let their messages come across in a "not so commercial" way, e.g. product placement or Advertiser funded programming. Although branded entertainment had a slight decrease in 2009, PQ Media predicts a steady increase in 2010 and beyond. The recent increase in branded entertainment is one of the consequences of the fragmentation of media and the decline in the power of the tr aditional 30-second TV spot. Traditional forms of advertising have become less and less effective in reaching consumers fragmented over hundreds of channels and with the introduction of new methods of delivering programming, such as internet streaming and digital video recording devices such as TiVo. Advertisers are going back to the branded entertainment methods of the early television industry to increase the exposure their advertising gets and to create stronger ties between the program and their product. Branded Entertainment is not simply product advertising or product placement - branded entertainment is a piece of entertainment that perfectly aligns with the brand attributes, and is a reflection of the advertiser's brand personality. A piece of branded entertainment for Jack Daniels, for example, doesn't need to feature a bottle of Jack Daniels , it merely has to fit within the entertainment preferences of its audience, to stick the experience of the entertainment to the brand, then it could be distributed on the Jack Daniels site - making it branded entertainment. The difference between basic product placement and branded entertainment are the people behind the projects. If done incorrectly, "branded enter tainment" is considered blatant product placement. But, if executed correctly, branded entertainment can be the most powerful tool in advertising. A good example of product placement is in Lady Gaga's 9.5-minute video for Telephone, which includes 10 produ ct placements and generated more than 4 million views in its first 24 hours, as well as her video for Bad Romance, which also includes multiple placements and has been viewed over 230 million times . Producers must
Amid impending layoffs. The combination of high-tech with high-touch media is . increasingly. the ubiquity of the internet has created an entirely new dimension to branded entertainment that is just now beginning to be explored. Specifically. The objective is to create a link in the viewer between the program and their product. most significantly. product placement and program sponsorship into a seemingly boundless new world of branded entertainment and content. the internet. the personal t ouch remains at the core of successful brand marketing. online video games. blogs. The Current Situation A confluence of technologies.emphasize and understand the balance between entertainment and brand. no matter what method the viewer chooses to watch the program in . webisodes. cell phones and. virtual games and. the brand and the type of entertainment have to match. In this brave new world. This is also a guaranteed way for their advertising to be seen. not some giant logo in the corner of your TV while we're trying to watch a show. Entertainment ranges from podcasts to visitor centers and sometimes theme park rides. For this reason. user-generated content. attraction rather than persuasion. using his newest tool: The MailMate shredder from Staples . the product will be woven into the plot or dialogue of the program. It has to be designed in a way that attracts the consumer. Product Placement The most common way to integrate brands into programming is by using product placement. 2006. one of the show s key characters showcases his value to the company through his role as a master shredder. Instead of simply using a product as a prop or background filler. In particular. including DVR s. has fragmented the consumer audience into bits and pieces that are extremely difficult to reach on a wide scale. First. Yet despite the massive technological changes that have forced advertisers to refashion their tried-and-true sponsorship and branding techniques. Innovative marketers are opening new frontiers to utilize the web and seamlessly integrate their brand into online content and entertainment through social networking sites. episode. obviously. live events continue to play an integral role in marketing strategies. is the key to success. the term brand integration is more commonly used. Office products retailer Staples and its entertainment marketing agenc y Davie Brown Entertainment worked with the producers of NBC's popular show "The Office" to integrate the MailMate shredder into the theme of the November 16. The result has been a radical metamorphosis of brand advertising.
In budgeting terms. TOP Executive Insights 1. 7. movies and radio. 29% have earmarked 10-20% of their marketing budgets specifically to branded entertainment initiatives. branded entertainment as a whole has become an integral and strategic part of the marketing landscape. branded entertainment has become a critical (and often experimental) part of the arsenal now used by leading marketers. 21% of survey respondents are allocating more than 20% of t heir marketing budgets to branded entertainment. Branded entertainment has truly come of age. 68% of respondents. branded entertainment is a comprehensive marketing strategy that is being utilized with increasing regularity and has mushroomed i nto an integrated and multi-channel approach that incorporates a wide swath of marketing techniques designed to connect with consumers in multiple touch points. with a strategic focus that now allows brand marketers to use a diverse set of media and tactics to reach and resonate with their target audiences. 6. there are new choices using the internet including webisodes. 2. or more than two-thirds. According to survey. 3. . virtual and video games. 4. Along with staples such as TV. According to the survey. mobile devices and user-generated content. are investing in some type of branded entertainment. EMI defines branded entertainment as the strategic and programmatic use of relevant content or entertainment as a focal point to attract. Emi s findings offer key evidence that despite the dominance of technology in today s marketing landscape. engage and influence targeted audiences. loyalty and action. blogs. The overall importance of branded entertainment continues to climb in the strategic planning of leading marketers. the personal touch is still critical to successfully reaching and resonating with target audiences. 67% of respondents said they are investing in events as part of their branded entertainment strategy. Today. More than two-thirds of marketing executives are using live events as a key component of their branded entertainment strategies.resulting in experimental and often interactive brand campaigns that allow marketers to create more targeted and purposeful ways to drive consumer awareness. 5. With a constant appetite for new entertain ment.
as a part of production without the explicit permission of the brand owner. mobile applications and social networking. For instance. Branded entertainment. video games and animations typically target a fixed group of consumers. advertising. including such media as tv programs. film. Generally. In other instances. engage and influence targeted audiences. Benefits and Possible problems Not only does the media become a promotional channel. giveaways and promotions. A well executed branded entertainment program should employ content in multiple formats to build a nd deepen audience relationships. Branded entertainment is the strategic and programmatic use of relevant content or entertainment as a focal point to attract. which is also sometimes called brand integration or advertainment. The risk of . but make a fictional scene more believable. producers may need specific permission and may even pay a fee to the brand owner to depict brands. others cite events blended with a brand or the integration of a brand s product and message into entertainment programming. however. as well as corporate sponsorships of athletic teams and stadiums. placements involve the brand owner paying a certain fee for the placement. In certain cases. the use of names and logos of football teams or players in a videogame. there is no fixed flow of revenue for the incorporation of a brand and the brand is used passively. This considerably contributes to reducing production costs such as in the recent film. Such unauthorised use of a brand could likely be a trademark violation and potentially create legal issues depending on the context of incorporation. for instance. video games. the impact of the brand FedEx appearing in Castaway.How marketers now define Branded Entertainment While some marketing executives have defined branded entertainment as narrowly as product placement in a tv show or movie. but the inclusion of real life products appeals to viewers as a recommendation from a friend. web programming and activities. where costs are said to be considerably cut through the prominent placement of L Oreal and Christian Dior products. An audience instantly connects with a fictional character using the real life product due to the viewers relatedness with the product from the real world. complete with ubiquitous signage. Brand placements not only benefit brand owners. brand placement in films cover a wider audience and have a longer shelf life beyond the screening in cinemas whether by way of DVD or television. While brand placement in television programmes. Aisha. can now encompass nationwide tours involving top-name musical acts presented By major sponsors.
In the film Life in a Metro. requires the consent of the brand owner. internet and radio. In fact. In order to ensure the safe use of a brand and to avoid any possible legal hurdles. which would be . The JV company . the benefits are: y y y y y y Alignment of brand with relevant content Build brand affinity Ability to make stronger emotional connection Avoidance of traditional commercial clutter Protection from increased consumer control A trendy/sexy communications tool Example While branded entertainment content on Indian television can be dated to as far back as the launch of Bournvita Quiz Contest. such placements may generally be acceptable to and even benefit the brand ow ner. producers should be mindful that t he active integration of brands. when the brand is used in the normal course of a film without actively displaying the brand to the detriment of the owner. a character in the story attemp ted suicide by drinking phenyl and a recognisable bottle of Kli-nol was depicted without the permission of the brand owner much to his displeasure. However. more often than not.Show M . "It's about finding one smart housewife through the game of 'chausar' as smartness is also a proposition of the brand. Show M will be involved with brands not just on the visual but also on the audio medium. brand placement in digital media could potentially tarnish the reputation of the brand a nd leave the producer vulnerable to legal risk. Despite the dominance of technology in today s marketing landscape. the company will also look at other mediums like mobile. In a nutshell. Branded entertainment is bound to become even more popular since it is mutually beneficial to both the producer and the brand owner. While TV will be a key component in the branded content space. the space recently got an impetus with WPP's Group M inking a JV with Raveena Raj Kohlli for the same. Further a key benefit of branded entertainment is its ability to make stronger emotional connections with the target audiences. home viewing. the personal touch is still critical to successfully reaching and resonating with target audiences. There are various ways of integrating the brand or creating branded content. through the show we have tried to convey what the brand is all about.damage to the trademark is particularly likely if such incorporation is seen to be harmful to the reputation of the brand.has launched a show called Wheel Smart Sreemati on Doordarshan for Hindustan Lever Limited. there is very little branding in the programme. If not used wisely.
Major marketers such as Unilever. While it may be less expensive and faster to utilize existing content. new and innovative ways of merging brands into content or entertainment vehicles are being experimented with on a daily basis. its scalability. as well as the most appropriate distribution. Consider the content s relevance in the marketplace and to the audience. Ford motor co. as reported in the New York Times. turning its display ad units into mini films sponsored by advertisers. Branded Content Content continues to play a crucial role in the branded entertainment arsenal now used by leading marketers. it may not be as flexible or as meaningful to the audience. The idea is to take a brand out of advertising stream and put it into the communications stream. and brand that is involved in content beyond entertainment into educational. including. Regardless of definition. combined both existing and new content with music and alternate delivery formats to launch a concert promotion that resonated with a targeted Young adult audience. cost. successful sponsorship partnerships.strategically in line with the brand communication or funded by the brand. Others have also tried similar. of course. Original versus Existing Content Compelling content is essential to the success of any branded entertainment campaign. and. Google has also gotten into the branded content act. persuasive communication that furthers brand recognition and loyalty. for example. Here are the pros and cons of each: Original Content Advantages: y y y y y created exclusively for the brand can be changed or rewritten Scalable Under your control. McDonald s. The agency is in talks most channels in the general entertainment space like Zee. and McDonald s have all repurposed or created new content in compelling branded entertainment campaigns that have increased brand awareness and sales. informative materials. Many marketers have offered varying definitions of branded content. ownership provides the opportunity to develop new platforms . Sony and also with DD.
y establishes lasting connection to the brand Original Content Disadvantages: y y can have higher costs Longer development timeline Existing Content Advantages: y y y y pre-defined creative and audience proven to resonate with consumers cost effective rights of ownership Existing Content Disadvantages: y y y Limited creative control may not completely fit brand or distribution may restrict new distribution platforms .
During the three -month period when the webisode was the sole promotion Degree utilized. The company decided to use a branded entertainment campaign to achieve its goals.Best Practices The following case studies showcase how leading marketers are successfully incorporating branded entertainment into their advertising campaigns to engage their target audiences. the brand was up 22 percent. so much so that they included the ro okie in their limited box -set DvD of 24. Lastly. embracing challenge and protection. improved significantly over previous levels. . Degree s brand imagery around masculinity. Unilever wrote and shot an original webisode series called The Rookie. but never mentioned th e product until the very end. making it the fastest growing brand in the antiperspirant category. The Rookie webisode series paid off handsomely for Unilever and Degree. Guys want to lead a fulfilling life. during the webisode s entire ten-minute run. the Degree brand stands for performance. Unaided awareness of the brand grew from 23 percent to 26 percent while total brand awareness increased among the key target demographic of 25-34 year-olds. The producers of 24 were impressed by how faithfully the webisode captured the feel of the series. According to Sam chadha. but they need protect ion from risk in their lives. Instead. In fact Chadha hired the entire staff of 24 to produce the show. Deodorants. Instead of having series star Jack Bauer (Kiefer Sutherland) use the Degree product on-camera. a full-color shot of the antiperspirant appeared on the viewer s computer screen. CASE STUDY I: The ROOKIE Brand: Unilever s Degree antiperspirant Agency: In-house Executives at Unilever s Degree antiperspirant brand were looking for a way to extend the ir brand by tying it into the TV action series 24. It was similar to 24. The Results Despite a cost that Chadha declined to reveal. Director of marketing.
The webisodes and ancillary videos were distributed to 40 -plus websites. family and business while on the road. bands to see. visiting destinatio ns like CMJ in Chicago and the Country Music Awards in Nashville. The Results Kim and Seana quickly reached over one million views within the first three weeks on the site. From New York. the program met the brand s objectives on brand/product integration. The strategy was to show the product in a way that would engage the target audience and make Sync a part of the Ya lifestyle. which follows two gen-Y singer/songwriters who take to the road to discover themselves. The second distribution phase released the entire webisode series onto crackle. as well as music and new opportunities. The Ford Sync technology and vehicle were featured in each webisode. profiles were built on five to seven social netwo rking sites. Kim and Seana. the campaign achieved a 75 percent respon se rate from those who were targeted with the marketing message. while bloggers and entertainment sites picked up and distributed the content across the internet. Ford s objective going forward is to offer the entire series. . in addition. voice-activated. Agency: TBA Global Ford motor co. consumers sent hundreds of entertainment messages and suggestions on places to go. The story kicked off at new York city s CMJ music festival. rich media content. When Kim & Seana launched. including daily video footage. Viewers were educated on the Sync technology as the girls used it to stay connected to friends. with friends kim and Seana covering the event and checking out performances from some of the up-and-coming bands and emerging artists. Within the first four weeks. According to the brand s executives. powered by Microsoft. in-car communication and entertainment system called Sync. including MySpace and Facebook. and consumer engagement and interaction. The content needed to be fun and compelling to get the target audience to watch the videos and share them with their friends. re staurants to eat at.CASE STUDY II: KIM & SEANA Brand: Ford motor co. the characters took their story on the road. interactive games and marketing offers through these sites and more. and more. blogs and photos. sought to connect its brand with the Young adult (Ya) audience to showcase its new fully integrated.com. Sony s entertainment portal. Weekly webisodes featured fresh content. The result was a branded entertainment web series. Building on the buzz and excitement surrounding Kim and Seana. as the girls followed the music scene across the country.
Golin Harris McDonald s was looking for a fresh idea to reach a larger share of the Young adult (Ya) audience. in -studio interviews. The artists themselves created and posted McDonald s Live content prominently on their MySpace pages. In total. TBA Global. developed McDonald s Live. with about 705. New partnerships with local radio stations in the 10 concert markets completed the 360-degree marketing platform with pre-event promotional mentions.com and vote for them to be featured in a McDonald s TV ad. N. to promote McDonald s Live and its participating artists online and on the air. but feature local extensions to connect all McDonald s marketing tactics and integrate online and offline communications.000. internal communications and channel marketing. pr. The Results McDonald s Live exceeded its objectives in all major categories. This resulted in a 30-day viral campaign that reached more than two million MySpace users.) McDonald s leveraged existing partnerships with media outlets such as MTV and Yahoo! music. and highlight its core brand value of opportunity. . McDonald s Live showcased emerging artists through a series of 14 free. which would use music the Ya market s number one passion as its centerpiece. with an emphasis on 18 -24 year-olds. advertising. including day-of-concert restaurant sales. including events.000 re quests for artist video plays. attendance. website postings. Over one million votes were tallied for favorite artists. Chicago (Sean Kingston). the campaign generated over 200 million brand impressions with ad value exceeding $5. Philadelphia (Kevin Michael) and Bloomfield. promotions. McDonald s Live would be national in scope. McDonald s Live created an engaging online experience that included on-demand video downloads of the concerts and a vote for your favorite artist campaign. publicity. encouraging fans to visit mcdlive.CASE STUDY III: MCDONALD S LIVE Brand: McDonald s Agency: TBA Global Other Partners: Arc Worldwide. website traffic. live mini -concerts at McDonald s restaurants in 10 markets across the country. The tour launched in Los Angeles and included Denver (Single File). (Keri Hilson. artist quality and impact on restaurant operations. One Republic. and featured meet-andgreets with the artists after the shows. Street teams and live remote broadcasts at the events were hosted by top DJ talent. Fan visits totalled more than 675. with one flagship location setting an all-time sales record. McDonald s Live resulted in an immediate sales increase at the host restaurants. email and text message blasts to fans.3 million. The company and its lead agency. listener contests and giveaways.J.
The result is an entertainment experience that can engage the Brand s consumers in ways more relevant and meaningful than ever before. the Brand has become the storyteller. Since the early days of sponsored radio and TV programs. Branded entertainment in emerging digital platforms Digital and interactive media have created a new breed of media consumers.000. The ideology behind Branded Entertainment Entertaining Advertising or Branded Entertainment? One of the greatest mistakes brands make as they execute branded entertainment efforts is that they intentionally or inadvertently create disposable content. They have an incredibly short attention span. They want to share something that. mark it. the studio. The total value of these local partnerships was more than $175. Its s ingular purpose is to meet a marketing challenge: to get someone to recognize a brand. to try a product. They no longer think in terms of TV or movies or channels or formats. They are no longer viewers. Entertainment is no longer a broadcast. Seeking a deeper connection with its audience. while 72 percent said McDonald s had a connection to their lifestyle. But leveraging entertainment to connect with today s media consumer has required the Brand to assume a new role. The effort contemporized the brand for 83 percent of brand survey respondents. They want to engage in something that they can talk about. they are participants. award-winning ads. Advertising is disposable _ even the most effective. to buy a . Each concert market developed a partnership with a top local radio station and benefited from an average of 100 commercials. high standards and strong opinions. the Brand has successfully exploited entertainment to deliver its consumer message. as referenced in our previous paper Marketer v Media. defines who they are. make it their own. on-air mentions and call-ins promoting the concert. They want to be entertained on their terms where. in the very act of sharing. Seventy-six percent said their perception of the McDonald s brand had improved. it s an experience. and. when and how it suits them best. They are immune to traditional advertising tactics and they don t want their content to be interrupted. even the distributor or publisher. brand relevance among Yas increased across a number of key measurements. They want to discuss it. the producer.McDonald s Live was a media draw in each of the 10 cities it visited. Lastly. change it. it s supposed to be.
the character can establish a relevance and pathos that gives the Consumer the sensation that they get me.product. Again and again. when it makes an emotional impact and when it delivers a tangible value practical knowledge. In the context of the Brand. The Brand as Proud Sponsor: This is the simplest and least invasive way the Brand can provide value in the consumer entertainment experience. The proliferation of cable networks and online programming has broadened the spectrum of content sponsorship options. so too has sponsorship. Consumers will connect with content when it is relevant. And when the Brand gives story priority over its own business objectives. . it s all about creating drama and a reason to care about how it turns out. If that connection is strong enough. The content in advertising is simply a delivery mechanism and whether or not that content lives on is secondary to the objective of g enerating the advertising result. the Consumer will come back for more. A compelling plot activates basic human programming: the Consumer wonders what happens next? . they ll bring others along with them. when a Brand creates entertainment and not just entertaining advertising. from concept to concept. When those criteria are met. entertainment or social currency. The Proud Sponsor s brought to you by approach has been around as long as entertainers have been funded. For the Brand. But just as entertainment media has evolved from radio to TV to internet. and the number of touchpoints becomes infinite. and becomes invested in the experience. When the Consumer can relate to a character and situation. And it all begins with a great story. However. the roles will be unique to the particular circumstances. the Brand can participate as well. The following role definitions are broad and it s assumed that. If executed responsibly. this can result in loyalty and frequency of interactions throughout the experience. allowing Brands to engage highly targeted audiences with relevant content. A believable world or immersive environment provides the Consumer with new and impactful ways to engage in the story. The Roles of the Brand and the Consumer It s vital to identify the roles that both the Brand and the Consumer play in the branded entertainment experience. there is an opportunity for the Consumer to participate in a long-term experience. the resulting experience can truly be dramatic. she is much more likely to connect with the content in a meaningful way. The Brand deploys its story in the new media universe. Branded entertainment in the digital space offers even more opportunities for the Brand to strengthen its position with the content and ultimately the Consumer. It doesn t need to be a sweeping epic a great story can be told in thirty seconds. the Brand s role should be a driving force in developing and producing the idea. If possible.
she has a great deal of power. and that s a mighty power to wield. While the Brand can sometimes successfully play the part of hero. self-publishing. She has the power to rate. And her act of passing the experience along to a friend in an email or posting it on her Facebook wall actually changes the content itself. transform the greater entertainment experience. to vote and to like. The Consumer as V iewer is not just a number. and so it s highly important that the core content in a property be of the utmost storytelling quality. video editing and more. her mash -up of video clips all forms of personal expression that. When a Brand can understand and embrace that power.The Brand as Lead Character: Telling a story in which the Brand plays a character is perhaps the most challenging approach to branded entertainment. but rathe r for strategic purposes? For instance. sharing. Or. long commercial. her dialogue with one of the characters on Twitter. an original short film series that s part of an alternate reality game leading up to a movie premiere. she has become a Contributor. accepted and embraced by the audience. She has the power to choose how much or how little to watch. whereas a challenger brand may find the Lead Character role provides more opportunities for positive exposure. simultaneously. the Contributor becomes more and more valuable. The Consumer as Contributor: The moment the Consumer shares a piece of content. Her comments on an episode. an apparel company funds a documentary film whose only purpose is to start an honest conversation in the market place as a point of entry for the company s new product launch or even just as insight during research and development. The Consumer as Viewer: In a digital age saturated with gadgets and technologies that allow all manners of active participation including chatting. it s an important point of entry that can lead to much more active involvement. One of the misconceptions is that the Brand needs to solve a problem or save the day. it s somewhat surprising to discover that the majority of interactions with a branded entertainment experience are passive viewing. A brand with broader awareness and reach may be able to leverage the benefits of Shadow Conspirator role. Her impression of the property is interpreted by others and sets the context through which they will experience the content themselves. defining its role at the genesis of the concept is essential. the role of Lead Character simply means that the Brand s participation is fundamental to the story telling. But. her vote for a story ending. The Brand as Shadow Conspirator: What if a Brand created an entertainment property and completely disassociated itself from the result? Not in the interest of mitigating the risk of the property s reception. . There are many factors that should be considered before the role of the Brand is determined. And most importantly. the whole thing can stink of advertising and may be perceived as one big. The role of Shadow Conspirator allows the Brand to affect opinion or evoke a reaction without muddying the proverbial waters. the Contributor can become even more powerful. Unless the Brand is positioned in a way that is immediately believable. she has the power to share. And when guided and rewarded by the Brand. Regardless of which level of participation best suits the Brand. The fate of a property rests in the hands of the Viewers.
. Of course. but it s vital for the Brand to assure that these three ingredients entertainment. and it s often most helpful to look at it through the eyes of the Consumer. The value of a branded entertainment experience needs to be symbiotic. the Brand can create touchpoints throughout the experience to influence the choices the Consumer makes and invite her to take on more a more meaningful role. The Consumer gets a real. and her role is defined not by the Brand but by her actions. tangible learning value from th e experience. she typically will have a strong social presence and can become a chat leader/key influencer for the experience driving even more parti cipation. Or I cried. I didn t realize the band had released a third album. This is not necessarily a tutorial or course as the knowledge could be something as simple as Wow. but as a quali fied part of the core content. Or I just had my socks knocked off. It s a quality entertainment experience. but by her nature. The Consumer is an independent player in the experience. However. The experience was highly relevant to the Consumer she has a reason to watch it and the Brand makes a deeper connection with the Consumer because she thinks they really get me. An effective branded entertainment experience will allow the Brand to deliver three key takeaways for the Consumer: Entertainment: I laughed . Consumers can become so inspired or incented to participate that they become Champions and may even begin doing the work of the Brand. Knowledge: I learned.The Consumer as Champion: If the right mechanisms are put in place. A great story is the foundation. These components comprise the value quotient for branded entertainment. she reaches a Champion level of authority within the system that permits her to actually create and publish her own videos not simply as user generated content. and the Consumer appreciates that it was delivered by the Brand. For instance. Emotion: I cared . not only does the Champion add value within the experience. emotion and knowledge are blended appropriately to create the most effective experience. an educational web experience with a series of instructional videos that establishes a social ranking system: when a Contributor earns a certain number of contribution points and a certain rank by her peers.
The Evolution of Storytelling to a Distributed Model It s difficult to broadly define branded entertainment in the interactive space for several reasons. The broadcast model continues to fragment with many TV owners abandoning appointment viewing and watching what they want. the migration of entertainment companies from the bosom of broadcast to the wild west of the internet has been rocky to say the least. And if he doesn t vent about his failing marriage to an unfaithful wife. and mobile phones to watch shorter form content in places and times that better suit their increasingly busy lives. when they want with DVRs and internet -connected set-top boxes. twenty episodes. First. But many digitally savvy consumers have foregone the TV experience altogether. still seek entertainment. You Suck At Photoshop is considered one of the most original and inventive digital entertainment experiences of all time. iPods. spearheading what would become a web video phenomenon: two seasons. The evolution of the entertainment consumer continues to complicate the business of entertainment. it s just that it s in interactive form video games. Struggling to unde rstand what the web video-watching market will bear. as such. brands have discovered a different ROI a nd. a paid model may be counterintuitive to its purpose. most of which have been misses culminating in repurposed TV and movie content wrapped in very old media advertising packages. his hirsute Facebook stalker.com. the real return for a Brand is simply quality exposure with the right people and greater potential for loyalty. though completely dissatisfied with the passive and cumbersome experience of viewing content. The Brand doesn t necessarily need to realize revenue from its entertainment property in fact. media giants have created hit-or-miss business models. And because Photoshop is the only way he can express himself. These people. of course. iPads. have the distinct advantage of looking at interactive channels from a different perspective. What made this seemingly disposable mock tutorial series last? It all started with a character named Donnie Hoyle. In many cases. one of Time Magazine s Top 10 TV Episodes of 2008 and nearly 30 million views later. While most entertainment organizations have yet to discover the silver bullet business model for content on the web. the concept of content consumption is evolving at an incredible rate. his . location-based mobile apps. turning to their computers. his dead-end job. even Twitter feeds. Facebook walls and Flickr streams. Distributed Storytelling Case Study YOU SUCK AT PHOTOSHOP In early 2008. a video created by this document s author Troy Hitch ent itled You Suck at Photoshop made a splash on Digg. Second. three Webby awards. Donnie Hoyle teaches you h ow to use Photoshop because he s better than you.
Season Two followed a similar plot: failing to prove that he is too infertile to have impregnated his ex wife. Events will continue to play a crucial role in branded entertainment. alternate reality gaming threads. Donnie uses Photoshop s v anishing point tool to remove himself from existence. they were surprised. then how will you ever get any better at Photoshop? This simple character became the focal point of an epic story: an everyman whose world is crumbling around him and who s powerless to do anything about it who s on a crash course with destiny. with a strategic focus that now allows brand marketers to use a diverse set of media and tactics to reach and resonate with their target audiences. The series concludes in a thrilling finale when Donnie is murdered by a mysterious assailant. blogs. You Suck At Photoshop became a transmedia darling and a runaway success. In a desperate attempt to leave his miserable world behind. the series lived in a space fertile for discovery. delighted and confused: this is hilarious. but I actually learned something about Photoshop too. Conclusion Branded entertainment has truly come of age. there are new choices using the internet including webisodes. movies and radio. On their own. and will be absolutely essential for reaching and targeting specific demographics. In Season One. You Suck At Photoshop is an unexpected entertainment experience. WTF? Its ability to entert ain and educate was only one part of the series unique approach. You Suck at Photoshop s lo-fi production was arresting. the story is told in voiceover. And when viewers discovered it. audience contributions and the full surrender of the series ending to the whim of the audience. virtual and video games. Donnie triggers a series of unfortunate events causing everyone in his life to threaten to kill him. Donnie reluctantly agrees to dissolve his marriage to his unfaithful wife only to slip into another disastrous relationship. while new media such as social networks offer an additional paradigm for how content is distributed. Although definitions . Facebook chats. The viewer never sees any of the characters. intercoms and emails all overlapping simple screencasts of Donnie s computer desktop. But there is a lot more to the story. the You Suck At Photoshop episodes are a compelling storytelling experience. Inspired by the fact that Photoshop tutorials are one of the most searched genres of video content on the web. mobile devices and usergenerated content.World of Warcraft guild and his problems with fertility. Yet even marketers that are thriving in this high-tech landscape recognize that it is the high touch aspects of their campaigns that will be the difference between success and failure. Along with staples such as tv. Through a series of social media interactions. Skype calls.
perhaps the most critical success factor in entertainment marketing is having quantifiable objectives and metrics that are pre-defined and create a feedback loop to allow you to fine tune your messages and product offerings. to truly capitalize on the benefits that branded entertainment offers.pdf .of branded entertainment and content may vary. as well as track online impressions. successful campaigns hinge on knowing your target audience and creating a message that is credible and relevant to that audience.com/TLP_PDFs/EMI_BrandedEntertainmentReport. qualified leads and closed sales. it is incumbent upon marketers to measure traffic. http://thelegacyproductions. Entertainment marketing is one of the most measurable marketing strategies. ratings. Therefore. page views and more. click-throughs.
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