Julie évolue dans le secteur des médias et de l'innovation depuis plus de 14 ans. De journaliste à "Business Developer", Julie a travaillé pour le compte de grandes sociétés, à la croisée des chemins entre les nouvelles technologies et le contenu audiovisuel, tels que: Canal+ (France-Belgique), Paramount Pictures (EMEA), Ascent Media (É-U, Liberty Group), Belgacom (Belgique), Deutsche Telekom (Europe de l’Est). Elle a participé au développement de plateformes IPTV, Cable, Web, Mobile, également de TV Conenctée et de système de reconnaissance gestuelle Kinect / Kinetic. Elle aime le défi, pousser les limites et penser à de nouveaux « business model ».
Julie a également inventé, produit et réalisé 269 programmes courts interactifs et multi-écrans afin de garder l’audience à travers un espace publicitaire (Brésil (Band TV) et au Sri-Lanka (MTV). « Thinking out of the Box » est son sport favori. Elle vit actuellement aux États-Unis, sur la côte ouest.
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TV, 2nd écran, réseaux sociaux : les leçons du South by SouthWest (SXSW)
Le South by SouthWest a encore battu des records de participation. Quelles étaient les grandes tendances lors cette édition 2014 ? Comment les industries de la télévision et du jeu vidéo s'adaptent-elles à la consommation croissante de vidéos mobiles ? Voir l’article >>
Tendances numériques sur la côte ouest des États-Unis : what's next ?
La côte ouest des États-Unis est de plus en plus attractive pour son dynamisme en matière d'innovation numérique. La dernière conférence TechFest fut l'occasion de saisir les dernières tendances. Voir l’article >>
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TV, 2nd Screen, Social Media: What you should know from SXSW 2014
South by Southwest once again broke all their previous attendance records. What are the big trends of the 2014 SXSW? How are the television and gaming industry adapting themselves to the growing consumption of mobile content ?
- TV can be viewed on any screen, anywhere
- Has the 2nd Screen become a major factor for viewer recruitment and loyalty?
- What will the content be for 2nd Screen media in the future?
- Does the quest for new audience growth begin with today’s social network?
More than 30,000 people attended the last SXSW this month in Austin, Texas. The areas known as SXSW Interactive which featured genre such as music, education and ecology were even more popular than last year! Nevertheless, some big players from the Silicon Valley did not attend the event as much as in the past. Instead they would rather spend their energy on a more global vision, as described by the New York Times, branching out to new markets in South Korea, Brazil, Europe or Africa.
However, influential and established brands are still participating in force, such as Samsung, Yahoo! and Deloitte. Historically, SXSW was a combination of music festival and media conference. It quickly evolved into a complete multimedia extravaganza, now including a new ecological and education chapter. The growth of the festival and multiple new directions of focus are overshadowing what was once a small but influential launching pad for indie music and movies.
It is interesting to note that the attendance comprises 40% women, attending a conference historically associated with male techie “geeks.” The average age was a predictable 21 to 34 years old, a target audience for many industries. Foreigners consisted of mostly English, followed by Dutch, Germans and Brazilians. As for the French, they had a welcome pavilion in an adjacent street: AKA the ‘French Tech.’
But what are the main interactive trends for 2014?
TV can be any screen!
What does this mean?
"We are living an exciting time for TV" is the unanimous message from the SXSW speakers on this subject (AMC, ESPN, Univision, PBS, AOL, Starz, TNT, etc.).
This leads to an important question, namely ‘What is TV?’ According to Ran Haverno, President of AOL Video, speaking from the generation of our parents, television is a screen plugged into the wall. "For my children, he says, the television is any screen -- connected or not! "
What is the result today? Even if the daily consumption in the United States has reached 5 hours and 4 minutes for adults over 24 years old... For the Y Generation (18 to 24 years old) this number has dropped dramatically to 3 hours and 20 min daily. In two years, youth consumption for the old fashioned TV Screen has decreased by three hours per week! The 2nd Screen has benefitted from this turn of events.
In January 2014, nearly 200 million Americans watched videos online, all devices included. In 2013, the consumption of video on mobile phones and tablets in the United States exceeded computer viewing and is already nearly half the audience of traditional TV [+Source : eMarketer, Aug. 2013.]! YouTube remains the leader in terms of videos watched on the Internet with 19 billion views, followed far behind in second place and with a quarter of this volume by AOL (with 4.7 billion viewed videos[+Source : Comscore Video metrix, September 2013]).
2nd Screen technology is a convenient and flexible platform for viewing mobile content. These last 5 years to meet the the new demand for non-linear and flexible content manufacturers have developed Connected Television.Other competitors have offered alternative independent technological solutions with Apple TV, Roku , Xbox or Google Chromecast.
Connected TV ‘s share of the home viewing market has exceeded 60% in 2017 with an increase in the consumption of non-linear content. [+ Source: ABI Research, April 2012] Systems such as Roku, AppleTV or Google TV will remain leaders for the Y generation, in terms of Video On Demand consumption, especially if manufacturers (like Samsung or LG ) do not change their policy interface. The user experience is perfected in simplicity. For example, ‘less is more’ when a remote has a few simple buttons rather than dozens. These new interfaces, remarked Scott Rosenberg, vice president of business development for Roku, are based on the PC user experience rather than TV. This is making all the difference and it is only thanks to this shift by manufacturers and (more importantly) users that viable alternativeswill be launched to great success.
On the content side, Netflix has seduced the American public with its flexible offer of fast and affordable (6 euros / month [+7,99$] unlimited video content on demand. However, the system of "push" or proposed and individualized recommendations is not yet optimized for consumer use.
Concerning the evolution of Video On Demand content, SXSW reveals once again the increasing convergence of different genres. For example, movies are being distributed in conjunction with online video games. Some recent examples include Steam and Double Debut, offering independent producers’ content (movies and video games). This particular business model is aided by the buzz associated with a charitable donation that Double Debut is sponsoring. Traditional platforms such as Comcast, Dish, etc should be integrating this new convergence and welcoming indie content. This distribution would then allow small content producers to thrive amongst the general audience via a direct and transparent distribution network. This creates for a ‘win-win’ on both sides, both for the content producers and distributors as well as for the consumers. However, do traditional set-top-boxes support such a technological flexibility today [+] to accommodate these new experiences?
Another new way for operators to capture an audience for mostly linear channels is within modern social networks. Given today’s diluted attention, linear TV channels are forced to find new ways to recover a portion of their lost audience. Social interactive tools (Facebook, Twitter, Instagram, ...) and other applications dedicated to the 2nd Screen are a compelling alternative.
What about content for the 2nd Screen?
The pollster Nielsen found that 85% of Americans use a tablet or smartphone when they watch television. Mainly the 13-24 years old demographic (the "Y Generation", also known as the "Millennial Generation") and young women are among the largest consumers of 2nd Screen content. 91% of users access the 2nd screen with asynchronous programs [+Asynchrony, in the general sense, is the state of not being synchronized with a TV program] and 50% of them interact on social media. There is definitely a large audience to capture here! The global market for mobile advertising is expected to increase by 47% in 2014:
- Parks Associates predicts that the income of advertisements "in-app" (viewed on the screen of a mobile application / tablet) will exceed $ 5.6 billion, by 2017.
- The magazine eMarketer predicts that by 2017 direct sales of goods will be made through mobile and reach over $100 billion.
- Cisco also forecasts that our mobile downloads will be eight times greater in 2018.
According to Greg Consiglio, president of Viggle , the 2nd Screen should become a$9 billion industry in the next four years. Viggle is also one of the first applications to reward the audience for loyalty. The 2nd Screen is a growth phenomenon and will become an indispensable source of profit. OK, but what’s next? What kind of content should the entertainment industry create that the audience will find valuable and relevant?
Does the audience quest start with social network today?
Erin Dwyer, Executive Director of Digital Marketing at Starz Entertainment has transformed the Spartacus series into a phenomenon in the internet arena. You have to think digital starting from the pre-production stage. The series Spartacus was able to create an evangelical fan database even before the first episode was aired ! More than 3 million fans “Like” the Facebook page of this series. Everyone is involved within the production were stakeholders. Actors and writers were at the forefront of supplying attractive content on the Facebook page, each of them presenting a particular role. "Eventizing" or is a new way to optimize a series based on a calendar event. Valentine's Day for example is a way to make the content timely and relevant. The hero Spartacus talks about his vision of love on Facebook and ties in the next episode where he proposed.
Another example of success through social networks is Mob City, where the first season was broadcast on Twitter. Each episode’s script was tweeted during 45 minutes. This is called "adaptweetion", where you adapt a script for Twitter. The result: 38 million tweets worldwide. The success of this new writing genre allowed the content creators to get valuable interest and finance the TV production with an already entrenched fan base. Barriers are indeed falling with this new wave of creativity and user experiences!
Julie Cruyt, March 2014
 Speaking about gaming experience ; have you tried yet the Oculus Rift headset ? The real start of the last 2014 Gaming Festival GDC (San Francisco , CA)