What does “branded content” really mean?

Branded content is not a paid ad, a sponsorship or product placement.

We often mention branded content in this newsletter. We show examples of it, we laud its potential.

But what does the expression “branded content” really mean?

Matt Doherty is asking the question in this week’s article.

Published over at the Transmedia Coalition’s blog, he opposes branded content to what it isn’t. He also comes up with a (partial) definition : branded content is defined by deep content experiences.

He also brings forward what he believes is a great example of a successful branded content effort: the Horizons television series that was aired on BBC World News (and elsewhere). This show is at the heart of a rich editorial ecosystem for Dupont.

I invite you to head over to Matt Doherty’s article and then why not ask yourself what branded content really means for you.

READ MORE >

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Brands becoming broadcasters, cracks in the television industry

Traditional content broadcasters are feeling the effects of these brands-as-publishers.

This year, it was possible watch PGA’s Masters Tournament on CBS (and ESPN, and others). The regular broadcast, with commentators whispering the latest chip shot or the current leaderboard. The production team made choices in the players you should see, the shots not to be missed. This broadcast also came with its bundle of ads, more or less targeted at you.

As with many events and shows these days, it was also possible to download the Masters 2013 app on your tablet, follow the results live, watch the tournament, also live, select the best moments you’d like to see again.

The second screen had become the first. And it was the event’s brand that suddenly became your broadcaster.

Brand are positioning themselves more and more as content creators (and publishers/broadcasters) and the traditional channels are really starting to feel it.

I pulled the Masters example from this week’s article, published by David Carr from the NY Times. He demonstrates the real impact that is being felt by television broadcasters.

But we could also apply this thinking to most other traditional media outposts of course (newspapers, magazines, etc.). The fact that more and more brands publish their own content has a growing impact on them and the race to adapt has already been going on for a while now.

READ THE NY TIMES ARTICLE >

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Content curation: how we choose the subject of our weekly newsletter

Every week, we send out our newsletter.

The concept is simple: Monday, 6AM, one article to read.

In short, every Monday morning, we recommend a must-read article (only one). A relevant article that can talk about branding, marketing, transmedia, management, content, etc.

I’m the one who prepares this newsletter, usually at the last minute, on Sunday evening. But the process will have lasted all week. Here’s how it goes.

(I’ll dive into details in this post, because it’s a question that I often get asked)

1. The constant scanning

The initial source is composed of Facebook, Twitter and a list of over 400 blogs that was compiled over many years (since 2006 actually). Although all these sources aren’t active on a daily basis, these blogs publish well over 3,500 articles per week. That’s a lot. I scan about 80% of the titles of these articles using many tools. My two favourite are : Reeder (iPhone and iPad) and Feedly (which I mostly use on my computer, but great mobile versions also exist).

I’ll be scanning my list of unread articles multiple times a day, here and there. Just to know what’s happening.

2. My first selection

From this initial “scan”, I’ll usually select about 50 (sometimes close to a 100) articles that I will share via Twitter every week. You can actually follow me on Twitter if you’d like to see the “raw” list of articles I find relevant (but keep in mind these are personal choices). I take great care in choosing articles that have a descriptive title, a title that represents what you’ll be reading. The idea is that in the end, you could basically see what are hot topics and trends simply by reading the titles of these chosen articles.

3. Monitoring interest

Throughout the week, I also track which shared articles generate the most interest (clicks, retweets, etc.). This will be an indicator to know what could be interesting to send the following Monday.

4. The final choice (always at the last minute…)

On Sunday evening, ususally while I’m watching television, I’ll jump up from my seat and realize I should be preparing tomorrow morning’s newsletter. That’s when I choose the article I’ll be recommending, a result of the week that just passed, conversations I had with colleagues and partners, and the ongoing monitoring of what we shared.

In  the end, it becomes a weekly newsletter that I hope is appreciated, read and shared.

Have you subscribed yet?

Oreo and its Super Bowl Tweet: How it Happened

While half-watching the Super Bowl, my girlfriend tells me “Have you seen Oreo’s stunt on Twitter? It’s everywhere!”

Indeed, after close to 15,000 retweets, this tweet from Oreo has generated a lot of buzz:

An article by Buzzfeed has some details on the stunt (for example that the agency responsible for this is  360i), but roughly:

  • At about 8:30PM, half of the stadium is hit with a power outage
  • About 20 minutes later, Oreo publishes its tweet on the situation, creative included.

How were they able to react so fast?

An ensemble of situations made it that it was possible to witness the events, develop a quick concept, get the go-ahead from the brand, execute it, have it approved and then publish it.

360i had set up a mission control room to monitor reactions to the brand’s ad that had been aired earlier during the game. In this room, you had the agency people AND the brand executives from Oreo.

It was thus very easy to decide to act, create the concept, get it approved and proceed.

But one aspect remains key to all this. When a brand decides to buy an ad spot in the Super Bowl, everything is thought out, prepared, over-tested, focus groups and all. How is this culture of over-preparation compatible with a less-than-20-minutes reaction? We can’t say all advertisers are willing to move that fast, especially not during the Super Bowl!

You have to dig a little to see that 360i and Oreo already had experience in the quick-release. Recently, for the brand’s 100th anniversary, the agency had developed a campaign where, for 100 days, a new ad was posted daily on social media, based on the day’s news and headlines. This campaign, the Daily Twist, worked really well and had most surely created a great deal of trust between the brand and the agency.

So here it is. Guts, creativity, a monitoring war room that assembled agency and brand executives, combined with a relationship based  on experience and trust. This is the recipe for the success of this stunt.

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Monétisation… comment font-ils de l’argent? 47 exemples

Quels sont les modèles d’affaires du Kindle d’Amazon, Facebook, YouTube et 44 autres marques.

Le Lien Multimédia publiait une chronique sur le sujet la semaine dernière, la question est posée dans tous les 5@7 du milieu, tous se posent la même question : comment monétiser nos contenus?

Sans nécessairement donner de recette magique, le lien de cette semaine présente les bases du modèle d’affaires de 47 propriétés bien connues.

Dans un grand tableau, chacune est répertoriée en fonction de ses sources de revenus : publicité, vente de données, abonnements, freemium, affiliation, royautés.

Quelle est la recette de chacune? Est-elle connue comme étant rentable?

Découvrez ce qui se cache derrière Netflix, FarmVille, Android en cliquant ci-dessous.

VOIR LES 47 PROPRIÉTÉS WEB >

A new platform: a tablet for children

Tabeo, a tablet for children developed by Toys’R'Us.

If your products are intended for young people, you know that everything needs to be conceived and reconceived for the specific audience you’re targeting. Content is constantly adapting to its targeted public, but what about now when we see that platforms are doing the same thing?

Next October 21st in the United States, the Toys “R” Us Tabeo tablet goes on sale.

The article for this morning includes some basic details, but what’s interesting here is to see the “physical” platform, comparable to tablets we have already seen, but completely designed with children in mind.

Will this be a breakthrough that gets noticed? Is this really something the market needs? We’ll see.

What “Arrested Development”, business models and web series have in common

“Arrested Development” is back…on Netflix. Here’s what this might mean.

The cult series “Arrested Development” was canceled by Fox in 2006. In Spring, 2013, it’s coming back (that’s right, 7 years later) with a new 13-episode season which will be shown exclusively… on Netflix.

We are presently making the first stumbling moves toward broadcasting series exclusively online, and each new offering brings something new to the industry.

Series producers are betting on the “binge viewing” phenomenon which these days explains the success of some programs. “Binge viewing” describes how someone will watch several episodes or even an entire season of a program in a single setting (this explains much of the success of “Breaking Bad“).

The new “Arrested Development” episodes will all be posted at the same time. So big fans of the show will be able to watch the entire new season in a single day.

The business model is based on Netflix membership (less than $10 per month), rather than on advertising and sponsors and a weekly viewing schedule.

Will this strategy be rewarded with major success? Will we see more big-budget original series distributed exclusively online?

Stay “tuned”…

(via GigaOM)

Why I am Restructuring Toast

Toast was born 12 years ago, in 2000, from a desire to “make websites.” In 2004, following client requests, we broadened our offer to work in print and advertising. In 2009, we decided to add a convergence stream, integrating television producers to our clientele.

Today, we work as much with entertainment brands (youth series for example), content brands (documentaries, television mazines) as corporate brands.

In 2012, the daily reality of our clients and their brands continues to evolve and we need to adapt.

The number of platforms available and accessible grows every month with the arival of the latest shiny object. In the current context, a brand cannot rely on having a presence at the same pre-established places, it needs (and can) differentiate through its use of the available platforms.

Websites, social media, mobile, webseries, print publishing, television, email marketing, events, guerilla marketing, radio, video, podcasts, blogs, trade advertising, tablets… These platforms – and the ones I didn’t mention because these represent a symbolic sample of possibilities – must be considered when preparing a brand strategy.

There is not recipe. Each brand has its personnality. And each personnality has its story. And each story has its own content strategy that represents it best.

Since the beginning of all this, I’ve wanted to avoid Toast developing a “recipe”, a “product” or an industry specialization. Never would I want someone refering to Toast as “the guys who do pharma” or “the Drupal specialists.” Our range of action is much broader. We act at the platform level and are thus able to coordinate the development of the brand on all these platforms, ensuring cohesion and alignment.

We’re strong and we love our work when we have the opportunity to deploy a brand in multiple places while taking into account three important aspects:

1) Can (or must) the concept be cut into different platforms and if so, which platform is most appropriate for each piece of content?

2) Which tactics to use in order to trigger transitions by clients and fans from one platform to another?

3) How to market the platforms on which the brand is present?

Content marketing, storytelling, branding, name it what you want. For us, it boils down to doing our job. Make content useful and relevant. It can be the story of a product or a documentary series, our objective is to work with a subject and “tell it” where it will have the most impact.

This brings us to the subject of this post.

Not all client need a website or all projects a “PHP back-end.” In certain cases, a webseries available on YouTube does the work perfectly. In other cases, publishing a book is relevant. And for certain mandates, a campaign executed strictly on social media is the best tactic to apply.

This variety of solutions brought to light the fact that it wasn’t realistic anymore to keep an in-house development team. It was an extremely hard decision to make, one of the hardest I’ve made in my life. It’s the one that will allow Toast to offer its clients the best possible solutions, without veering towards proposals that ensure the profitability of an in-house team, dedicated to web programming.

Toast must give itself the means of its ambitions and this new structure will allow our clients to tap into our pool of the best creators, designers and resources. A team adapting to each mandate in order to offer the best to its projects, on all platforms.

Toast’s core now consists of producers. Producers that combine the most relevant expertise in content, technology and funding. Brand producers.

We continue to serve as much our corporate clientele (the “branding” stream) as the entertainment and content clientele (the “convergent and transmedia” stream). This doesn’t change. I strongly believe that principles of creation, development and extension of a brand apply to both streams and each can benefit from the work we do with the other. We actually not distinguish these streams anymore.

Toast has evolved a lot in the past twelve years and this new milestone takes into account not only the current context but also the one knocking at the door that is greatly changing the way brands will be managed in years to come.

Toast is a multiplatform production house.

/ Alexandre Gravel
Senior Partner

(photo via juanfernandopacheco)

 

Our Tools: Large File Transfer via WeTransfer

This post is the first of a series showing the tools we use at Toast Studio—tools that enable a design studio like ours to work in high gear.

As an agency (as for many other companies), we very often have to send loads of large files that wouldn’t go through via email.

Just mail a DVD or a flash drive. Whaa? Are ya kiddin’ me?! At Toast, our service of choice is WeTransfer. We tried almost all of them and this one is our favourite. Why? Well, here are a few reasons why:

  • No account or registering necessary–works on the spot.
  • Free, so you can tell your clients to use it when sending you large files.
  • Gorgeous, sinple and efficient interface.
  • No bells or whistles, just the bare essentials.
  • 2GB maximum per transfer (1 or more files).
  • Flawless and intuitive email notifications.
  • Possibility to create your own white-label service.
  • Did we mention the gorgeous interface?

Seriously, we’re ages away from the complexity of  YouSendIt or the implications behind Dropbox. We think that simple needs demand a simple service, thus WeTransfer. If you don’t know it, check it out. You should.

Our series about the tools that make Toast go round includes (or will include) these:

The Future of Logos, 20s Posters, Teens and Transmedia (#3links)

A very simply string to start the week, #3Links offers a weekly selection of interesting articles chosen among our reading lists of the lats few days. 

The past and the future of famous logos

Definitely this week’s best shot. Stock Logos (although not our kind of company) has been gazing in its crystal ball and imagined what some big brands logos (Google, GAP, Starbucks, Apple, etc.) will become–eventually.  Admittedly, we chuckled, especially at the Starbucks sequence that zooms ad vitam until there’s only a green dot.

Posters from the 1920s—Art Deco Style!

I do enjoy Colour Lovers. There, I said it. It’s interesting how they tone everything down to one colour palette. It’s worth the stop. In this post, no swatches, rather posters dating back to the 20s. A bit of everything.

MIP: Transmedia & Teens

A summary of a summary of a panel, the article identifies several relevant details that define teens and transmedia. My favourite quote: “I don’t think they really understand how to watch TV without touching something!”

And you, what reads caught your attention this week? Share them in the Comments section below.