Television Is The New, New Media

As a salesman, I get the pleasure of having conversations with marketers on a daily basis. And, as marketers should, you’re asking many questions to ensure your campaigns are getting the best results and your brands are reaching the right audiences.

Every day, we are asked questions like “What is Hulu’s median age?” (it’s 33), “How do we index against millennials?” (we index at 159), and “What are your most popular shows?” (what’s popular on TV is popular on Hulu). And, those are all really interesting questions that I’m sure I’ll field during our NewFronts presentation next Wednesday, May 4.

But those questions and answers come from yesterday’s play book. Hulu’s median age really doesn’t matter. What matters is that we can pinpoint any age group advertisers are trying to reach. It doesn’t matter how we index against millennials or any other audience segment. Why bother with indices? What matters is that we can deliver 100 percent of an advertiser’s target segment. And while popularity of programing is directionally interesting, what’s more interesting is the ability to buy against both heavily streamed shows and shows that are heavily viewed by your target audience.

In other words, we need new questions for this new media called “TV.” Wait, what? “New media” was what everyone called that whole content-in-a-browser-dial-up-internet thingy about 20 years ago. TV on the other hand is traditional media. Some might call it “conventional media.” But I assert that the most conventional of media—TV—is new media.

Here’s why.

The entire definition of TV is changing, and the ability of viewers to watch TV through an IP address is the biggest driver. The opportunity to device- and place-shift viewing on digital platforms and internet-connected TVs has been rapidly adopted by consumers. Nielsen, comScore, Symphony and others are racing to paint the most complete picture of these shifting viewers—viewers who are way ahead of all of us, by the way.

We’re well underway in the transition from a one-to-many broadcast model to an ever-expanding addressable advertising market. Addressable TV represents a huge opportunity to use media automation and data-driven targeting to serve with unprecedented precision. Data and advertising have been like peanut butter and jelly for a long time in areas like direct response mail. But the surge of data use for targeting TV? That’s new media.

Another example of TV’s shift to new media is that brands have more freedom with their creative. When TV is delivered via IP, where we are not anchored to a programming grid, we can experiment with new creative types and lengths. Sure, 15- and 30-second spots are welcomed in these environments, but interactive ads and creatives of varying lengths—the ones that drive more viewer engagement—are all welcomed in this new media landscape.

With the arrival of TV as new media, to borrow a phrase, “It’s time to think different and ask new questions.”

Hulu Newfront

Green Is Good

Find out why green is good for viewers, for brands, and for your bottom line.

  • No symbols such as registered marks, copyrights, etc.
  • If symbols are required, they will be presented in standard text such as" Brand (TM)".

Stress mark should be marked with [capitals] to indicate the primary stressed syllable, as in: news・pa・per [NOOZ-pey-per] in・for・ma・tion [in-fer-MEY-shuhn]

On living room, mobile, and tablet devices, the color gradient overlay is dynamic and will change based on the cover story art. It is not something we can control on our end.

If the tagline/date messaging doesn’t fit within the 11 syllables max, it can be included as text.

On living room, mobile, and tablet devices, the color gradient overlay is dynamic and will change based on the cover story art. It is not something we can control on our end.

Q: When is letterboxing allowed and not allowed?

A: When the native aspect ratio is 1.78:1 or 1.33:1 throughout the entire program, there should not be any letterboxing (black bars on top and bottom), nor should there be any pillarboxing (black bars on either side). We should should see an active picture take up the full frame. If the aspect ratio is wider than 1.78:1, such as 2.35:1, matting on the top and bottom is permissible. Additionally, if there is a creative choice to add matting or if there is a mix of native aspect ratios, this is usually waived, but please reach out to your Hulu representative to confirm.


Streaming TV Advertising 101

Learn the why's and how's about getting started.

Q: Should the bitrate be constant if delivering ProRes codec?
A: No, since ProRes codec is built to be variable, this is waived.

Q: Can you accept bitrate higher than 30 Mbps?
A: Yes, we can accept bitrate beyond the recommended range for H.264 and ProRes. In the case of ProRes, bitrate will often exceed 30 Mbps due to its variable setting.

Q: What does native frame rate mean?

A: Native frame rate refers to the frame rate the source footage was shot. Whenever possible, we require all videos to be delivered in their native frame rate. This means that no frame rate conversion should be performed, which includes adding 3:2 pulldown for broadcast.

Q: Why do you ask for progressive?

A: The Hulu player, unlike traditional broadcast, does not play back interlace scan, so we require that all videos be delivered with their scan type set to progressive. If your video is natively interlaced, you must de-interlace it to progressive and you must employ a de-interlace filter that does not result in blending or ghosting artifacts. We recommend an auto-adaptive de-interlace if available.

Q: Why do you prefer PCM codec?

A: PCM codec is lossless audio quality, so whenever possible, please deliver PCM audio.

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