If you’ve been reading any kind of news (or your Twitter feed), you may have been wondering why everyone’s been talking about a small, furry mammal as of late. But the Meerkat in question isn’t a fuzzy animal native to Africa; it’s a livestreaming app that launched March 10th and gained traction thanks to buzz at SXSW.
How does it work? Meerkat connects your phone camera to your Twitter feed; once you’ve installed the app, you type in a status and hit the “stream” button—and just like that, a link goes out to your Twitter followers with live video from wherever it is you’re pointing the camera.
The hope behind the app is that it (and others like it) will expand the reach of citizen journalism. At the moment, when events happen in the world, they’re tweeted and hashtagged, and people can follow along on Facebook and Twitter. By also using an streaming app like Meerkat, broadcasters can share what they’re seeing as it unfolds. Things like riots and protests could be viewed in real-time without any form of private or governmental filters.
But why the fuss over Meerkat specifically, when there are others like it? That has to do with the relationship it has with Twitter. Originally, the app pulled information about your Twitter followers from Twitter itself, so that it could immediately connect you with those people on Meerkat. But Twitter—who recently acquired a similar app called Periscope—was none too happy with Meerkat and crippled the app’s reach. (A tweet still goes out via the app, but it no longer can access the “social” part of the social network.) Naturally, that drew a ton of attention to this brand-new app.
Now if you want to find other people and their streams, you’ll have to catch all of it via the Meerkat app directly. There already some famous people who’ve wholeheartedly embraced it, like Late Night host Jimmy Fallon. (Who, with his 23 million followers, may havetemporarily broken the service.) You can also catch novel bits of journalism, like Jimmy Kimmel being interviewed by USA Today as it happens.
Will the app take off beyond this initial burst of attention? It’s unclear. When Twitter first hit the scene, no one could imagine the usefulness of a service that limited you to 140 characters. Now its seen as a crucial part of any brand’s social media presence. Let’s Plays gave way to Twitch streaming and now people make a comfortable living doing commentary while they play through Minecraft or Destiny. If used effectively (not just for boring or creepy purposes), Meerkat could fuel the growth of a new way to keep people informed, complete with its own breakout stars.
But given that people need to be following you on Twitter to see what you’re doing on Meerkat, building a fanbase for one app through another app seems like a daunting task. To be Meerkat-famous, you’ll first need to be Twitter-famous. If Meerkat can shake off its association with Twitter (which Twitter would be happy with, no doubt), it could be the “next big thing.” Or it could be another high profile app that goes nowhere.
Marketing Land will be returning its brilliant #HashtagBowl starting February 1, 2015, this is where they will for the fourth consecutive year track all social media during the games.
Back in 2012 there was only 25 percent of all national commercials mentioned hashtags or social media accounts, in 2013 there were just over half of all TV ads having a hashtag or some social media mention.
2014 was interesting for the hashtag mentions during the Super Bowl TV ads, hashtags were mentioned in more than 57% of Super Bowl ads. Here are the overall stats for 2014 54 national ads reviewed: Hashtags: 31 total with 57% of ads overall, Facebook: 5 total with 9% of ads overall, Twitter: 4 total, 7%, YouTube: 3 total, 6%, Shazam: 2 total, 4% and URLs: 22 total, 41% of ads overall.
How will the hashtag fair this year during the Super Bowl 2015 commercials?
We will update this article when the time is right. In the meantime please do visit Marketing Land, as they will be announcing the winner and share its analysis of how well Super Bowl advertisers used social media and online marketing into their ads when the game is over.
Twitter France a présenté hier, avec Socialyse, l’entité social media du groupe Havas, les résultats de l’étude «TVxTwitter», menée en octobre dernier, qui décrypte la place du réseau social dans les nouvelles formes de consommation télévisuelle.
A cette occasion, ont été présentés les résultats d’une étude réalisée sur 3 annonceurs de 3 secteurs différents (énergie, entertainment audiovisuel, banque-assurance). Ils montrent l’amplification de l’impact de la communication auprès des personnes exposées à la TV + Twitter versus à la TV seulement, sur les critères d’émotion, de proximité, de considération d’achat et de recommandation, ainsi que sur les valeurs de la marque : innovante (x2,3), fun (x2,6), enthousiasmante (x3,5), audacieuse (x2,8), tendance (x2,2), à l’écoute (x2,8), de confiance (x1,8).
Ainsi, lors du dispositif TV/Twitter d’EDF mis en place par Havas Media pour le match de football France-Espagne le 4 septembre (voir archive), 69% des personnes exposées à Twitter+TV ont trouvé la marque innovante, vs 38% des exposés TV seulement, et 60% se sont senties proches de la marque, vs 37% des exposés TV seulement.
A partir d’une étude réalisée auprès de 1 007 utilisateurs (30 derniers jours) de Twitter, âgés de 18 ans et plus, quatre profils de comportements ont été dégagés : les @adict (10%) qui ne peuvent pas se passer de Twitter devant la TV ; les @core (24%) gros consommateurs de la TV et de Twitter ; les @casual (39%) qui ont besoin de valeur ajoutée pour utiliser le réseau devant la TV ; et les @distant (27%) qui n’utilisent pas le réseau social devant leur poste.
Parmi les personnes utilisant Twitter devant la TV, 72% déclarent chercher du contenu additionnel en lien avec le programme qu’ils regardent et 66% vont chercher des contenus exclusifs. Pour 2 personnes sur 3, Twitter permet de voir s’il y a un programme «dont tout le monde parle» et 1 sur 3 choisit de regarder un programme s’il est très discuté sur Twitter.
Une personne sur deux retweete des marques parce qu’elle aime le contenu, deux sur cinq pour participer à des jeux concours et une sur trois pour bénéficier d’offres exclusives.
Autre résultat de l’étude, à prendre en compte pour les marques qui veulent engager leur audience : les deux éléments qui apportent le plus de valeur dans un tweet sont, pour les personnes sondées, l’humour et le fait d’apprendre quelque chose de nouveau.
On en a maintenant l’habitude, Manchester City est un des clubs les plus actifs en terme de dispositifs digitaux. Et leur nouvelle application en témoigne encore une fois.
Le club Mancunien est le premier à lancer une application second screen pour suivre les matchs en direct. L’application propose des stats en temps réel, des vidéos ainsi que du contenu sur les coulisses des matches.
Comme l’indique le club, l’application Match day commence des le réveil, le match dure 90 minutes mais un jour de match, c’est bien plus que ces 90 minutes.
Ainsi avec cette appli, le club propose a ses fans de passer la journée entière à préparer le match du soir. Les spectateurs qui utiliseront l’app dans l’enceinte du stade se verront également privilégiés car ils pourront accéder a du contenu vidéo additionnel non accessible de chez soi.
Enfin, l’appli permettra de favoriser les échanges entre fans puisqu’elle donnera la possibilité à tous de partager photos, tweets ou autres vines…
Japan has long been called one of the world’s most Twitter-savvy nations. After all, Japanese is the second most tweeted language behind English, and some 30 percent of the country’s Internet users are said to be on Twitter.
On day two of the Tokyo International Film Festival’s content market, TIFFCOM, TV executives gathered for a panel discussion to share strategies and case studies on how local networks are leveraging the platform to reach, engage and retain audiences.
Kicking off the presentation, entitled “The Audience Strikes Back: How to Engage Television Audiences Through Mobile and Social Media,” Masaki Hamura, managing director of digital creative agency AKQA, made the basic case for why TV producers need to be more aggressive about integrating social media into their content.
“Social interaction always affects one’s primary experience,” he said. “For example, if you see a beautiful sunset, that’s probably pretty memorable. But if you see the same sunset with your daughter, it’s going to be more significant because you’ve shared it.”
Hamura, who recently served as head of brand strategy for Twitter in Japan, said that TV viewing has always been a social activity best enjoyed with family or friends, but social media has made this possible across distances and with larger groups. “I often turn on my TV because I see all my friends talking about some show on Twitter,” he added.
Mikiko Nishiyama, a senior director at Nippon TV, Japan’s oldest and highest-rated commercial broadcaster, then took the podium to share some of the innovative ways in which Japanese networks are utilizing Twitter and mobile apps.
The broadcaster’s drama Piece Vote, which launched in 2011 and airs at midnight, has begun featuring an on-screen overlay of live tweets from viewers. “While watching the program, you can also watch the response from other viewers,” Nishiyama said. “Often the response is as entertaining as the action. Our producers choose the tweets. It’s a highly interactive way of watching TV.”
The network’s recent dating show Tweet Love – with the tagline “her love life is in your hands” – goes a step further. Co-developed by Sony Pictures U.K., the format features a young single woman and three male suitors. Much like conventional dating shows, the bachelors are profiled in their daily lives and each gives performances and engages in various competitions in an effort to impress and win the interest of the woman. The key difference: she is unable to see the bachelors themselves. Instead, viewers tweet their reactions and impressions and select tweets are presented to her on three floating screens. It’s not until she makes a choice that she sees the various contestants and interacts with them directly – with still more action later determined by viewer tweets. Rather than merely supplementing the viewing experience, viewers’ tweets dictate every aspect of the action.
Nippon has also developed an app to interact with its various programming. Named “Furi Furi TV,” which translates to “shake shake TV,” the app makes shows into interactive games that viewers play by shaking their smart phones at key moments during broadcast.
For example, during Nippon TV’s recent airing of The Amazing Spider-Man, if viewers shook their phone anytime Spider-Man shot a spider web, they could win points and prizes provided by advertisers. The app also has social network integration so viewers can compete against their friends while watching. During music programming, audiences can win points by shaking and dancing with their phones in synch with the music.
“The idea is to create engagement and viewer participation, while also creating a new channel for advertisers and sponsors, said Nishiyama. “The response was greater than we expected.”
Twitter users in Japan set a world record of 143,199 tweets per second in Aug. 2013 by tweeting “balus” during a television broadcast of Hayao Miyazaki‘s anime classic Castle in the Sky (Tenku no Shiro Rapyuta). A magic word in the Miyazaki universe, “balus” triggers a spell of destruction when said by characters at the beloved film’s climax. Germany’s soccer World Cup blowout of Brazil during the summer set a record of 580,000 tweets per minute, but Japan still owns the per-second title.
How to make it ?
1. Make Social Sharing Easy for Your Cast and Crew
2. Anticipate Social Storylines
3. Create winning moments by identifying high impact conversations
4. Build a Team of Passionate Players
Social network ad spending in the UK is still on a strong upward trajectory, with eMarketer expecting 50.0% growth this year. By the end of 2014, social networks will be home to 10.5% of all digital ad spending in the UK, and we expect this share to rise by 4.2 percentage points in the next two years.
Overall UK digital ad expenditures, which include spending on all formats served to internet-connected devices, will total £7.25 billion ($11.33 billion) in 2014—up 15.0% from 2013. Mobile and video ad outlays will continue to grow dramatically, pushing digital’s share of UK total paid media ad spend to 47.9%.
The vast majority of social network ad spending goes to Facebook, the UK’s largest social network. This year, Facebook will see 7.5% of all digital ad spending in the country—nearly three-quarters of the 10.5% going to social networks overall. By 2016, nearly one-tenth of all UK digital ad outlays will go toward the social networking giant—along with more than one-quarter of all digital display ad spending.
Twitter accounts for a much smaller share of the pie, at just 1.3% of digital ad spending in the UK this year, or 3.9% of UK digital display ad spending. But Twitter itself is somewhat more reliant on the UK as a revenue source, collecting an estimated 12.9% of its ad revenues there this year.
eMarketer has adjusted its estimates for Facebook’s and Twitter’s UK ad revenues upward since its earlier forecast, based on higher-than-expected earnings reported in Q2 2014.
On a per-user basis, UK social network advertisers will spend £23.24 ($36.31) trying to persuade social networkers to convert from prospects into customers, or simply building brand awareness. That’s up nearly as fast as social network ad spending overall, and eMarketer expects the figure to continue to rise at double-digit rates through at least 2016. That year, we estimate, UK advertisers will spend £36.49 ($57.02), on average, to reach each social network user via paid media on such sites. That will represent around a threefold increase since 2012.
eMarketer bases all of our forecasts on a multipronged approach that focuses on both worldwide and local trends in the economy, technology and population, along with company-, product-, country- and demographic-specific trends, and trends in specific consumer behaviors. We analyze quantitative and qualitative data from a variety of research firms, government agencies, media outlets and company reports, weighting each piece of information based on methodology and soundness.
In addition, every element of each eMarketer forecast fits within the larger matrix of all our forecasts, with the same assumptions and general framework used to project figures in a wide variety of areas. Regular re-evaluation of each forecast means those assumptions and framework are constantly updated to reflect new market developments and other trends.