SVP, Entertainment Brand Solutions
Disney Advertising Sales
The first ad I remember:
“I don’t want to grow up, I’m a Toys-R-Us kid”
My favorite TV show of all time:
LOST
I’m here to:
Make new connections with creative leaders, spark new ideas on business partnerships and find new ways to inspire creativity across my team.
LIZ LEVY
Head of Branded Entertainment
Hulu
The first ad I remember:
Micro Machines commercials with Fast Talker John Moschitta
My favorite TV show of all time:
Breaking Bad
I’m here to:
Break the mold for how brands show up on Hulu.
BRANDON PIERCE
Executive Creative Director Hulu
The first ad I remember:
Hare Jordan Super Bowl spot
My favorite TV show of all time:
Martin
I’m here to:
Learn from all the smart people around me.
TIFFANY ROLFE
US Chief Creative Officer
R/GA
The first ad I remember:
Cereal ads during Saturday morning cartoons. Tony the Tiger and Captain Crunch are still close to my cereal-loving heart.
My favorite TV show of all time:
This is a hard one. I guess, at this stage of my life, probably Homeland.
I’m here to:
Learn and do some cool work.
PJ PEREIRA
Creative Chairman & Cofounder
Pereira O’Dell
The first ad I remember:
Lots of old Brazilian ads from the 80s like Rider’s
My favorite TV show of all time:
The Wire
I’m here to:
Help the industry accelerate towards less interruption.
MARK BOOK
Head of Content
Digitas
The first ad I remember:
Larry Tate Office Linebacker (Reebok)
My favorite TV show of all time:
30 Rock
I’m here to:
Help to pave the way for creating universal standards and practices. Connect and share learnings with a like-minded community of smart and passionate individuals.
KAREN NOEL
Media Lead
State Farm
The first ad I remember:
Probably cereal or Pop-Tarts, something advertised on Saturday morning cartoons.
My favorite TV show of all time:
Schitt’s Creek
I’m here to:
Build connections, learn from others, and see what new things can be done in advertising.
LINDA BOFF
Chief Marketing & Communications Officer
General Electric
The first ad I remember:
Breck Shampoo
My favorite TV show of all time:
Mad Men
I’m here to:
Glimpse into the future of attention, content, and brand opportunities.
JIMMY SMITH
Chief Creative Officer & Chairman
Amusement Park
The first ad I remember:
Either Popeye The Sailor Man (spinach) or A Charlie Brown Christmas (McCann for Coca-Cola)
My favorite TV show of all time:
Game of Thrones
I’m here to:
Help the folks at Hulu be successful where I can … add to a platform in which to produce great creative content. Meet and hang with like-minded creative people.
DAVID CHANG
Chef, Author & Entrepreneur
The first ad I remember:
Wendy’s “Where’s the beef?”
My favorite TV show of all time is:
The Wire
I’m here to:
Learn from all of these great minds
BRAD SPYCHALSKI
Global Creative Lead
Google Media Lab
The first ad I remember:
“How many licks does it take to get to the center of a Tootsie Pop?”
My favorite TV show of all time:
The Office for LOLs, Game of Thrones for OMGs.
I’m here to:
Meet curious and creative folks looking to think beyond the TV spot.
SCOTT DONATON
HEAD OF CREATIVE HULU
The first ad I remember:
Cereal ads during Saturday morning cartoons. Lucky Charms. Count Chocula. Capt’n Crunch. Tony the Tiger. “They’re greeaaat!”
My favorite TV show of all time:
Saturday Night Live
I’m here to:
Get all the answers…
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.
No symbols such as registered marks, copyrights, etc.
If symbols are required, they will be presented in standard text such as" Brand (TM)".
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.
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]
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: 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&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: 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.
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 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.
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.
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.