EXECUTIVE SESSION with Rishad Tobbacowala

Last Mass Medium Standing Could Be TV

But it's not a growth business anymore and it's not the medium of choice for some audiences, says the new media maven for Publicis Groupe Media. To expand, television stations need to fully embrace the Web and other new media and further increase their local presence.
TVNewsCheck,

With the decline of newspapers and radio, Rishad Tobaccowala believes TV may be the only mass medium left in a few years.

That opinion should give TV broadcasters some comfort. Tobaccowala keeps a close eye on new media as the chief innovation officer at Publicis Groupe Media, one of the world's leading advertising conglomerates. Through Starcom MediaVest Group and Zenith Optimedia media buying networks, it accounts for some $45 billion in spending annually around the world.

Story continues after the ad

Tobaccowala is also CEO of Denuo, a branch of Publicis that he helped launch more than two years ago that focuses on cutting-edge forms of advertising.

To help it peer into the future, Denuo has also taken on an advisory role at more than three dozen nascent companies, and receives investment options for that service. Among the companies are Brightcove (enabling video on Web sites), Sling Media (essentially turning computers and smart phones into clones of your living room TV) and Daylife (a customizable online news service).

Armed with the insights afforded by those firms, Denuo's team of experts works with clients like Dupont, Purina, Hewlett-Packard and Conde Nast, giving them new research, strategies and tools to engage their target consumer groups more effectively.

In this interview with TVNewsCheck Contributing Editor Janet Stilson, Tobaccowala not only makes his mass-media prediction, but also says that he believes TV stations can have a vibrant future if they capitalize on some strategic opportunities. However, he does envision new rivals on the local video front.

Tobaccowala also discussed how Denuo will maintain its importance in a day and age when at least two of its clients, General Motors and Procter & Gamble, are in cutback mode.

An edited transcript:

Where do broadcast stations stand, in the minds of advertisers, when you consider the massive migration of video content to other media? Are stations still of value to them?

Sure, absolutely. The world is basically consuming more and more video rather than less and less video. And a broadcast station has to recognize that it is less of a broadcast station and more in the business of delivering of video.

For an advertiser, what the broadcast part of this does is deliver large audiences at scale. Let's say you want to reach 25 percent of the market. There is no better way of doing it besides using traditional media, which in the local market tends to basically mean spot television or newspapers. The difference is, people are still watching lots of television, but they are watching or using less and less newspapers.

How do TV stations become of more value to advertisers?

They need to figure out how to leverage their Internet and other media presence, because what may begin to happen is people will say, "Yes I'd like to see what happened on my local news, but I'd like to see what happened on my local news long after the local news is broadcast. And I'd like to see more depth of information," which you can't do in a 30-minute broadcast.

The networks and the stations have to recognize that they're in the video information and entertainment-delivery business. A broadcast station limits what they can actually do.

So you don't think that mass media is dying on the vine?

No, not at all. In fact, my sense of this whole idea of mass media's death is massively premature. The people who are talking about dying will die before the media dies.

Traditional mass media is not a growth business, and so to continue to resonate and be relevant, broadcast stations need to basically embrace digital media, including the Web. You'll actually continue to have a healthy, viable broadcast business, but you have to accept it's not growing, and it's becoming less and less relevant to particular target audiences.

You once predicted that, at some point, it's going to be more expensive to buy advertising on Google than on network television. Do you still feel that's the case?

It has actually become far more expensive to buy advertising on Google than on network television. Google has a product called AdWords, which marketers use to bid on a particular key word [that consumers might type in during an Internet search]. On average, across all categories, it tends to be about 50 cents.

So 50 cents every time someone clicks on a certain advertisement triggered by a search.

Right. Let's say on television you get a $20 cost-per-thousand rate. Fifty cents a click is equal to $500 cost per thousand. You can see how much more expensive it is, but the difference is there's some sort of action.

Do you think the TV CPM rates will decline?

I don't necessarily think that the cost of television is going to decline because, in a few years, it's going to be the only mass medium available.

Edit Article

Comments (0) -

The Market

Symbol Last Change (%)
Nasdaq 2905.66 +45.98 (+1.61%)
NYSE 8060.43 +115.00 (+1.45%)
S&P 500 1344.90 +19.36 (+1.46%)
Updated 02/04 4:57ä ET Quotes delayed at least 20 mins.
Source: Financial Content

Ratings

Overnights, adults 18-49 for 2月 3, 2012
  • 1.
    3.9/11
  • 2.
    3.5/9
  • 3.
    2.5/7
  • 4.
    1.5/4
  • 5.
    1.5/4
  • 6.
    0.9/2
Source: Nielsen
Reviews
Opinions
Features
  • Robert Lloyd

    Keegan-Michael Key and Jordan Peele, veterans of Fox's sketch comedy MADtv, have a new series of their own, Comedy Central's Key & Peele. It is a genial, at times almost genteel, half-hour in which the pair's obvious niceness shines through even their more pugnacious characters. (Key's version of road rage is to shout, "Selfish!") In a roundabout way, that's the point. The sketches are consistently smart and smartly acted and flow easily from ordinary premises to weird conclusions.

  • Hank Stuever

    Discovery's Bering Sea Gold doesn’t seem at first like it has crossed any new reality TV frontier, relying on elements and structure familiar to the form. Enticingly (to the network), it combines the ocean and the gold and the cold and the reactive testosterone among bad-tempered desperados. To which I am surprised to cry: Eureka, they’ve found it! Bering Sea Gold is a testament to how thoroughly absorbing the genre can still be, when it’s done right.

  • Neil Genzlinger

    All Star Dealers, Discovery Channel's sports-memorabilia addition to the bloated auction/pawnshop/storage locker subgenre of reality television, should have been a winner, with endless stories to draw on and a built-in fan base. But rather than find its own formula, it was content to borrow from existing shows, and it borrowed all the wrong things.

  • Joanne Ostrow

    Kiefer Sutherland displays his softer side in Fox's Touch, a touchy-feely drama merging paranormal, spiritual and sweetly familial elements. shows off his acting chops, long forgotten, in scene after scene. It's heavier lifting than usual for the actor who was often reduced to caricature in 24. Sutherland is all about vulnerability in a show whose goal is nothing short of proving the interconnectedness of human life. We'll see if audiences can tolerate the notion of profound interrelatedness as weekly entertainment.

  • Tim Goodman

    Let's jump right to the most obvious of all sentiments when it comes to HBO's new horse racing/gambling series Luck: Do not bet against David Milch in this one. Like a lot of HBO series, Luck will require patience. It's telling a dense story with nuanced characters and it doesn't feel the need to rush in, like a network series, and hammer home the main themes. But each episode is more enriching, more engrossing than the last and there's Hoffman's superb turn at the forefront, even though his story unfolds with the least rush. Luck is a smart and ambitious series that looks to truly pay off in the home stretch.

  • Mike Hale

    The timing of FX's animated series Unsupervised is unfortunate. A kind of reversed Beavis and Butt-Head — in which the teenage heroes, while losers in just about every way, are also social strivers yearning for suburban domesticity and dispensing Oprah Winfrey-style affirmations — it has the bad luck of coming along three months after the original was revived by MTV. The new show looks awfully pale by comparison.

This advertisement will close automatically in  second(s). You will see this ad no more than once a day. Skip ad