As we’ve seen among Generation Stream, TV is constantly serving as a mood management tool. We’ve found that ‘mood’ is a two-way street. On one hand, mood directs streamers to what they watch, and on the other hand, what viewers
As we’ve seen among Generation Stream, TV is constantly serving as a mood management tool. We’ve found that ‘mood’ is a two-way street. On one hand, mood directs streamers to what they watch, and on the other hand, what viewers
Generation Stream is always connected; a digitally native and socially-savvy audience. They are first movers, content curators, and in today’s world with endless on-demand shows to binge and hundreds of viral social media challenges (or dances) to learn, there is
At Hulu’s 2020 Newfront presentation, “Green Is Good,” the company showcased the premium content, industry-leading insights, viewer-first advertising products and new creative opportunities that make Hulu the most valuable Streaming TV partner to today’s biggest brands. The Streaming TV space
During this time of stay-at-home orders, it’s no surprise that life can feel isolating for many people. Television has always been a catalyst for connection, and today, these shared viewing experiences are even more important, as they provide an escape
Breaking the Habit Loop. Late last year, Hulu embarked on a research study we called “Becoming First,” in which we explored the cues, routines and rewards associated with TV viewing. We especially wanted to consider this in a world where
It’s no surprise that people are leveraging technology in new ways during the current state of physical distancing. They are working remotely, connecting with friends over virtual happy hours, streaming more video content across all devices, and replacing traditional brick-and-mortar
With thousands of brands advertising on Hulu, we know that there is no one-size-fits-all creative strategy when building a standard video commercial. With this in mind, we set out to better understand what really makes a brand stand out amongst
People are watching more TV. It’s a well known fact by now that sweeping physical distancing orders have impacted consumer media behavior. With more time at home, individuals and families are turning to their televisions and devices to stay connected,
Valentine’s Day is all about bringing people together. It’s a celebration of friendship, commitment, and the pairing of individuals who are ready to take on the world together. But before we get too emotional, it’s important to bring up our
CES is the premiere gathering place for leaders in technology & innovation… …and we’re gearing up for some exciting panels & fire-side chats throughout the week. Check out Hulu’s line-up of speakers: Digital Hollywood Contextual Advertising Panel – Transforming Contextual
Today’s consumer is empowered, motivated by choice and control and expects to be reached in interactive and customized ways. In order for brands to break through the crowded and complex marketplace, performance marketing is critical to building direct connections with
The air turns brisk. The wind billows, ripping the once-beautiful fall foliage from the trees and scattering it across the pavement. The daylight hours dwindle, leaving only the flickering jack-o’-lanterns to illuminate the streets. Don’t be scared – this sounds
Remember the first time you used a ride-sharing app? You had to download the app, enter your email and credit card info, and punch in your location. The same goes for other apps like banking, delivery, and subscription services. They
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.
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