PROMOTED CONTENT
MARQUEE AD

The Promoted Content Marquee Ad design mimics the existing Hulu UI design and only supports long-form full-length episodes or feature films. 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.

Freeform-Grownish-Marquee-Promoted-Screen

Timeline

13 business day production lead time from the receipt of the final asset.

Available On

TV
LAPTOP
TABLET
PHONE

Static Deliverables (if Advertiser is designing)

Horizontal Show Image

  • Dimensions: 3840 x 2160; 16:9 ratio
  • Devices: Living Room & Web
  • Max File Size: 31.6 MB
  • File Format: JPG
  • Creative Guidelines: Scalable artwork with no title art or text that will be legible across various screen sizes.

Vertical Show Image

  • Dimensions: 1440 x 2160; 2:3 ratio
  • Devices: Mobile, Tablet & Web
  • Max File Size: 11.8 MB
  • File Format: JPG
  • Creative Guidelines: Scalable artwork with no title art or text that will be legible across various screen sizes.

Network Logo

  • Dimensions: 750×750
  • File Type: Transparent PNG
  • Max File Size: 500k
  • The logo should be center-aligned in the available area.
  • Only a primary studio logo is allowed. Additional imagery, taglines, talent names, or release dates are not permitted.
  • An all-white version of the logo is highly recommended for visibility.
  • A horizontal logo is recommended for optimal visibility.

Gradient Color

  • RGB code
  • If not provided accent color will default to R8,G75,B42 (Dark Green). 
  • Blacks or light colors such as yellow or white are NOT PERMITTED.

Static Deliverables (if Hulu is designing)

Show Image

  • High-res Layered PSD
  • Both horizontal and vertical versions, if possible.
  • Creative Guidelines: Scalable artwork with no title art or text that will be legible across various screen sizes. Think living room to mobile/tablet.

Network Logo

  • PREFERRED: Vector Adobe Illustrator (AI) or EPS
  • ACCEPTED: High-res Layered PSD or Transparent PNG

Font (if applicable)

  • OpenType Font (OTF)

Accent Color

  • RGB code
  • If not provided accent color will default to R8,G75,B42 (Dark Green). 
  • Blacks or light colors such as yellow or white are NOT PERMITTED.

Video (if not already on Hulu)

Technical Specs

Length

  • Full episode or full feature film long-form content ONLY. 
  • Trailers, promos, standard commercial asset lengths (:15s and :30s) are NOT ALLOWED.

Copy

CTA Copy

  • Max Character Count: 30 (including spaces)

CTA Copy Legal Guidelines (Approved)

  • Coming Soon
  • Streaming Soon
  • Available on [PLATFORM NAME] + [DATE]
  • Streaming on [PLATFORM NAME]
  • New Episodes every [DAY OF WEEK]

CTA Copy Legal Guidelines (Not Approved)

  • Stream Now
  • Watch Now
  • Now Streaming
  • Stream Now on [PLATFORM NAME]

Show Title Copy

  • Max Character Count: 60 (including spaces)

Description Copy

  • Max Character Count: 70 (including spaces)

Action Button Text

  • “Play”
  • Not customizable per legal standards.

On-Channel Design Deliverables

General Design Specs

  • File Format: JPG
  • Max File Size: 2MB
  • Hero Templates: vertical and horizontal
  • These are our four templates in one artboard.
  • Although we do not require a PSD for each size, it would be appreciated if both horizontal and vertical PSD files were included in your delivery.

Legacy Show Art Deliverables

  • Key Art: 2048×768
  • Master Art: 600×338
  • Poster Art (for movies only): 694×1000 
  • The deliverables should include title treatment

Vertical Hero

  • Dimensions: 1440×2160
  • This is key art WITHOUT text or title treatment.
  • If possible, the image should not include gradients.
  • If key art does not work well then alternatively you can use a still that best represents the season.
  • Please make sure the subject is within our safe zone area.

Horizontal Hero

  • Dimensions: 3840×2160
  • This is key art WITHOUT text or title treatment.
  • If possible, the image should not include gradients.
  • If key art does not work well then alternatively you can use a still that best represents the season.
  • Please make sure the subject is within our safe zone area.

Horizontal Program Tile

  • Dimensions: 3840×2160
  • This is key art WITH the title treatment.
  • Please use our template to know where our network bug gets dynamically added.

Vertical Program Tile

  • Dimensions: 1440 x 2160
  • This is key art WITH the title treatment.

On-Channel Copy Deliverables

Asset Metadata

  • Series Title: The title of the series or movie.
  • Title: The title of the asset you are asking to be published.
  • Description: Unique description for the asset. 255 characters maximum, including spaces.
  • Programming Type: Explains the type of content. Usually “Trailer”, “Excerpt”, “Web Exclusive”, “Episode”, “Movie”. See pgs. 34-35 in our Content Guidebook.
  • Original Premiere Date: Date the asset first airs. If it is tied to a movie or episode, then the date the movie premieres.
  • Rating: Usually safe to use the rating of the movie or series. See pg. 18 in our Content Guidebook.
  • Available Date & Time: The date and time this asset launches.
  • Expiration Date & Time: The date and time this asset expires from the service. If it should never expire, write “Evergreen.” NOTE: Theatrical trailers require an expiration date and cannot be evergreen.

Series & Movie Metadata (if new to Hulu)

  • Series Title: The title of the series or movie.
  • Season Number: What season will this first asset live under. Most often, it’s Season 1. For movies, a season number is not required.
  • Series Description: A brief description of the series or movie
  • Genre: Usually “Comedy”, “Drama”, “Horror and Thriller”, “SciFi and Fantasy”. See pg. 17 in our Content Guidebook.
  • Media Type: Use “TV” (for a series) or “Film”
  • Rating: See pg. 18 in our Content Guidebook.
  • Country of Origin: Defines what country this series or film originates from.
  • Channel: Describes what studio produced this movie or on what network it airs.

Third-Party Tracking Tags & Hosting

Tracking Tags

  • Clients can provide third party 1×1s.
  • We do not accept third-party click trackers.

File Hosting

  • Files are hosted by Hulu.
Andy_69_C3100_HEP_9x15_648x1080px
Andy-Goldberg
ANDY GOLDBERG
SVP, Global Brand Planning & Content
American Express
The first ad I remember:
Fruit Loops with Toucan Sam
My favorite TV show of all time:
Impossible to name just one but Friday Night Lights is on the all-time list.
I’m here to:
Connect with others on the potential of streaming … how things are changing so rapidly and how brands can be at the forefront of amazing content.

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.

  • 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 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.

Alex_48_C3100_HEP_9x15_648x1080px
Alex-Lopez
ALEX LOPEZ
Head of Global Brand Communications & Narrative
Nike
The first ad I remember:
Mike & Spike (Air Jordan)
My favorite TV show of all time:
Sports, The Simpsons, The Sopranos, or anything else that starts with “S”.
I’m here to:
Get inspired, build some knowledge, and have some laughs along the way.

Q: Why do you prefer PCM codec?

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

Play Video

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.

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