Combining Hulu’s traditional living room video ads with action-oriented prompts and personalized offers, the GatewayGo ad unit allows brands to get significantly closer to their conversion goals with Streaming TV by shifting conversion actions from the TV to mobile devices. By leveraging second screen enablement technologies such as QR codes and push notifications we’ve created single-step conversion journeys that inspire viewers to take immediate actions on a brand’s offer without asking them to shift their mindset or disrupt their viewing experience

Play Video

GatewayGo
(beta)

Timeline

5 week production lead time from the receipt of the final asset

Available On

TV
LAPTOP
TABLET
PHONE

Static Assets

Brand Logo

  • PREFERRED: Vector .AI or .EPS file.
  • ACCEPTED: High-res layered .PSD or Transparent PNG

Product Imagery (If Applicable)

  • PREFERRED: Layered .PSD or .TIFF files
  • ACCEPTED: Transparent PNG or JPG

Video Tech Specs

Technical Specs

Video Length

  • A minimum of :15 and maximum of :30.
  • We cannot accept multiple shorter spots from the same or different brands to form one commercial.

Miscellaneous

QR Code

  • Hulu will create the QR Code to be used. Clients will need to provide the URL for the landing page where the viewer is able to redeem the offer.
  • Advertisers are able to provide their own QR code if they are willing to share scan data with Hulu. Additional IO stipulations will have to be in place if the advertiser chooses to provide their own code.

Living Room UI CTA Copy

Choose from the following

  • “Send [advertiser]…” +
    • …info to:
    • …coupon to:
    • …discount code to:
    • …offer info to:

Specs

  • Max character limit: 65 characters / 2 lines
  • The max character count includes the entire CTA message with advertiser name.

Examples

  • Send Nike coupon to:
  • Send Target offer info to:
  • Sent Chobani discount code to:

Push Notification Copy

Specs (for both iOS and Android)

  • Headline: 50 character max/1 line
  • Description: 115 character max/3 lines
  • If required, truncation will be handled by the device.

Guidelines

  • Provide cohesive copy between living room and push body.
  • Do not mention Hulu in the description copy.
  • Do not mention details that would vary during the course of a campaign (eg: changing prices / items in stock).
  • Provide copy that takes into account the viewer’s state (they are on their mobile device, multitasking while watching content).
  • Keep copy clear, crisp and easy to peruse.
  • Mention your brand and offer in the first line of copy.
  • If the offer you are promoting has an end date that end date should be mentioned in the push copy.
  • The destination URL you are driving viewers to should be active a minimum of 30 days after the campaign ends. If that is not possible the URL should redirect viewers to another URL that is active for 30 days after, in case the viewer accesses it later.

Notes

  • Headline copy of push does NOT change (eg: “Here’s the info you requested while watching.”)
  • Description copy should be provided by the advertiser.
  • Example: “Get the Nike coupon now and redeem at any Nike store. Happy shopping!”

Email Copy

Specs (for both iOS and Android)

  • Subject Line: 50 characters max / 1 line
  • Body Copy: 200 characters max

Guidelines

  • Provide cohesive copy between living room and email body copy.
  • Do not mention Hulu in the body copy.
  • Do not mention details that would vary during the course of a campaign (eg: changing prices / items in stock).
  • Provide copy that takes into account the viewer’s state (they are on their mobile device, multitasking while watching content).
  • Keep copy clear, crisp and easy to peruse.
  • Mention your brand and offer in the first line of copy If the offer you are promoting has an end date that end date should be mentioned in the email copy.
  • The destination URL you are driving viewers to should be active a minimum of 30 days after the campaign ends. If that is not possible, the URL should redirect viewers to another URL that is active for 30 days after.

Notes

  • The default subject line is “Here are the details you requested while watching!”
  • A custom subject line copy can be provided by the advertiser.
  • Example: “20% off at Nike this weekend only.”
  • Email body copy should be provided by advertiser
  • Example: “Thanks for choosing to send yourself an email link while watching! Get the Nike coupon now and redeem at any Nike store. Happy shopping!”

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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.

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.

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

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: 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 prefer PCM codec?

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

The use of Graphik is acceptable in cases where the Client cannot supply their own typeface.

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Q&A With
Gadi Amit

Founder, New Deal Design

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.

Q&A With
Gandi Amit

Found New Deal Design

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.

Q&A With
Jonathan Miranda

Emerging Strategy Principal, Salesforce

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.

Q&A With
Julie DeTragila

Head of Research & Insights, Hulu

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.

Q&A With
Larissa May

Founder, #HalftheStory

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.

Q&A With
Richard Frankel​

Global Creative Director, Spotify

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.