The Ad Selector allows the user to control their ad experience by choosing the ad they want to see. The user will be presented with two or three video options. Once a selection is made, the user will be presented with the commercial of their choice. If no selection is made after :15, one video in the unit will be randomly selected to play.
Hulu’s Binge Ads enable marketers to deliver contextually and situationally-relevant messages at the right time and place – during a viewer’s binge session. It also allows brands to create and own a positive, entertaining viewer experience that compliments bingeing and reduces ad fatigue.
The Branded Entertainment Selector (BES) allows the user to control their ad experience by choosing whether to watch a long-form commercial or to view the show with standard commercial breaks.
A branded slate is a custom title card that appears in premium positioning before video creative in the first pod before the beginning of a show. The advertiser’s brand logo is shown with “Presented by” intro text and Hulu-provided voiceover audio.
A branded slate is a custom title card that appears in premium positioning before a video creative in the first pod before the beginning of a show. The advertiser’s brand logo is shown with “Presented by” intro text and Hulu-provided voiceover audio.
The Cover Story Brand Placement offers advertising clients the opportunity to integrate their branding with Hulu’s homepage.
Interactive video formats foster greater affinity with a brand using customizable interactivity that can inform viewers about a brand’s latest products, features, and services.
The Max Selector provides marketers with enhanced creative controls and capabilities to maximize the impact of their message through customization and viewer choice.
The Marquee Promoted Content design mimics existing Hulu UI design and only supports long form full length episode or feature film. Hulu viewers already recognize this design to promote content that is available for them to watch and is an effective tool to drive viewership of the latest season or a new series premiere.
A Premium Slate is a :07 custom title card with “Presented by” messaging and voiceover that appears in premium positioning before video creative in the first pod before the beginning of a show. This unit offers enhanced creative flexibility for a client to leverage their own video, dynamic visuals, and sound.
A Premium Slate is a :07 custom title card with “Presented by” messaging and voiceover that appears in premium positioning before a video creative in the first pod before the beginning of a show. This unit offers enhanced creative flexibility for a client to leverage their own video, dynamic visuals, and sound.
The Marquee Ad Poster design leverages existing coming soon design components to promote a trailer for an upcoming title. This specific creative execution supports full length trailer and behind the scenes content to entice Hulu viewers to want to watch the series or theatrical release.
Sponsored Collection brand placements gives advertisers extended ownership of a collection sponsorship through logo placement adjacent to content in Hulu’s UI across devices.
The Video Commercial includes placement of your advertiser’s video creative into any one of Hulu’s standard long-form content commercial breaks.
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.
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.
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: 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.
Gadi: The development of serendipity in recommendations is very important. An analogy I use is that of a restaurant. If you go to a good restaurant, you don’t always want to see what you’re looking for. You’re looking for surprises. It’s not the expected, it’s the unexpected. You trust in the restaurant’s atmosphere. You don’t know exactly what you’re getting, but you trust their creativity and that you’ll enjoy whatever they serve you.
Do you think it is possible for a streaming service to become that “restaurant” - a trusted source of serendipitous recommendations?
Gadi: I absolutely do. But it is difficult. It’s a long game. It requires them to build trustworthiness with audiences through genuine content recommendations over the years.
Gandi: The development of serendipity in recommendations is very important. An analogy I use is that of a restaurant. If you go to a good restaurant, you don’t always want to see what you’re looking for. You’re looking for surprises. It’s not the expected, it’s the unexpected. You trust in the restaurant’s atmosphere. You don’t know exactly what you’re getting, but you trust their creativity and that you’ll enjoy whatever they serve you.
Do you think it is possible for a streaming service to become that “restaurant” -- a trusted source of serendipitous recommendations?
Gandi: I absolutely do. But it is difficult. It’s a long game. It requires them to build trustworthiness with audiences through genuine content recommendations over the years.
Another expectation among younger generations seems to be personalization. How are you seeing this play out in media?
Jonathan: If you go into the world of advertising and marketing, customized, personalized advertising is more important than ever before. There’s a realization that eight years of funny commercials that we’ve showed everybody probably for the fourth time, doesn’t work anymore. So there’s a lot of companies moving towards specialized advertising.
How does this type of personalization translate to personalizing content beyond advertising? Who’s going to predict what people will want to watch, and do it first?
Jonathan: It’s not about being the first to predict what people want to watch. It's different. It’s about getting viewers to browse. You want to show them the value of all of the money Hulu has spent and the great range of TV and film for them to choose from.
Julie: There are vast differences between the way under 35-year-olds watch TV and over 35-year-olds watch TV. I grew up in a world where there were maybe 10 channels, and my viewing changed as technology and options changed. Younger viewers started from a really different place. Everything has always been on-demand. Anything they ever wanted to see was available to them, and they therefore have different expectations for TV.
How so?
Julie: One of the things we found with Gen Z is that they really want to be immersed in something for a long time. They want to have content that they can live with for a while; it’s like this long, seamless storytelling. They’ll knock off a couple episodes a night and it will last a couple of months. And then they’ll re-watch it a million times over.
What other shifts have you seen happen-with Gen Z but also more broadly-with the rise of streaming?
Julie: For years, television had to deliver a specific rating. Shows had to appeal broadly or else they wouldn’t survive. And those days are long gone because, with streaming services, shows can reach hundreds of thousands of people or tens of thousands of people and still be considered successful. There’s more experimentation with the types of content; we’re not locked into an hour, a half hour, a comedy, etc. The industry can create really niche shows to appeal to niche audiences, but also simultaneously create big, broad experiences that are shared by millions.
Your work focuses a lot on Gen Zs who, for better or worse, are dubbed “digital natives.” How do you think a generation of digitally native audiences view digital content differently than older generations?
Larissa: I think for young people digital content is a way they’re able to explore their own identities through the story... They want to see themselves and their stories in the content that they’re engaging with.
Tell us a little more about this digital content as Gen Z’s form of self-reflection.
Larissa: Digital content is sort of like a currency. I find that young people want to watch things that their friends are watching so that they can have conversations about it. For example, with Euphoria, young people were just kind of in love with the characters. It was very timely and a bit provocative, and then there was a way that they could see themselves in these stories and connect with their friends about the topics and ideas in the show.
And then also they could almost embody these characters in their own life. I really do think that the TV shows that young people are buying into are actually influencing their culture and their trends and even their language that they’re using.
What does the future of personalization look like?
Richard: I think it’s all down to trust. We're going to see more opportunity on platforms like Hulu and Spotify where the user trusts us.
That’s really interesting. Another area we wanted to explore is podcasts, and their relationship to video. For example, the show Homecoming is an adaptation of a podcast; the podcast Office Ladies is a spin-off from a TV show. Why do you think the two formats work so well together?
Richard: Anything at all that drives conversation in pop culture, and TV does a lot of that, is worthy of consideration in a podcast environment. Any of these conversations can become multiple audio streams that evolve with experts, interviews, and all kinds of narrative threads that can flesh out characters, or narrative development, or whatever's happening in those shows.
The use of Graphik is acceptable in cases where the Client cannot supply their own typeface.
