PromaxBDA Station Summit

Local TV Is A 'Massive Growth Industry'

Marketing strategy guru Rishad Tobaccowala: “Video and TV remain the most powerful ways one can potentially market … and people watch more video than ever before" and "local matters more and more, so things look really positive as long as we all continue to evolve with the needs of the principals we are serving." The trend that TV marketers must keep a close eye on is how consumers are behaving with video, and that means being mindful of “companies that are simultaneously your best possible friends and your worst possible enemies,”
TVNewsCheck,

TV marketers who want to be sure their companies thrive in an increasingly turbulent digital age must gather their teams in a room, serve up some alcohol and brainstorm until they design the next big competitor to their industry. “When you do that you will find that you have created something that is better than what you have, and if you don’t pursue it, someone else will.”

So suggested Rishad Tobaccowala, chief strategy and innovation officer at Vivaki, in his keynote address to last week’s PromaxBDA Station Summit in Las Vegas.

Story continues after the ad

The longtime advertising industry gadfly had words of encouragement — and caution — for the hundreds of local TV marketing and promotion managers in his audience.

TV, and more specifically video, “is a massive growth industry,” Tobaccowala said. “Video and TV remain the most powerful ways one can potentially market … and people watch more video than ever before. All of this bodes extremely well for your industry.”

In addition, “local matters more and more, so things look really positive as long as we all continue to evolve with the needs of the principals we are serving.”

Those principals — the audience and advertisers — are buffeted by technological change that has no respect for industries, companies or past consumer behavior, he warned. Even technology giants like Google find themselves on shifting sands, as Facebook enters the search industry, betting that friends’ recommendations will be more trusted than those of a search engine.

Brand Connections

“The industry you thought you were in is not necessarily the industry you are in,” Tobaccowala said.

The trend that TV marketers must keep a close eye on is how consumers are behaving with video, and that means being mindful of “companies that are simultaneously your best possible friends and your worst possible enemies,” Tobaccowala said.

Netflix and Amazon Prime, for example, offer vast amounts of excellent commercial-free programming for less than $10 per month, he said, and their customers provide them with a huge stream of data. “Their technology is to optimize what to recommend to me, and to make my experience seamless on any one of the 221 devices I might be watching with.”

Netflix and Amazon “have understood that the future is not about TV. It’s about video across glass, and not just Google Glass, but the next iPhone watch or some other device.”

YouTube also challenges TV’s status quo. “In the U.S., 13-year-old boys watch more YouTube than TV,” Tobaccowala said, “and it’s about the same with 18-24s.

“People are beginning to understand that they like to watch YouTube, and 40% of that viewing is taking place on phones and tablets,” he said.

The young audience is changing, Tobaccowala added, “and so Google goes to our clients and says: ‘I can expose messages to them and you won’t pay for a commercial unless someone sees the whole commercial and you are not limited in how long the commercial is.’ ”

L’Oreal, he noted, is successfully running eight-minute commercials in front of three-minute videos, because interested consumers find the content engaging.

And L’Oreal isn’t alone as a marketer creating content. In fact, marketers are increasingly focused on a trio of paid, owned and earned media, and the ratio in which they use them is changing.

“If two years ago, paid media was 90%, owned was 8% and earned was 2%, the 90% will go down to 70%. That’s 20 points switching from paid to owned and earned,” Tobaccowala warned.

“Marketers are saying we’ve got great content, so why don’t we distribute it on the Internet, Facebook and YouTube. We’ll use paid media to scale it and if we get something really interesting we’ll get earned media.”

TV station marketers must think about how to use the Internet to distribute their content, Tobaccowala said. “Think about the heft of your station and how you can help your local retailers utilize all these things.”

Station marketers must also make sure their shows “are watchable across a lot of platforms. Think video and think paid, owned,” he said.

Finally, Tobaccowala urged TV marketers to build their personal brands. “You are only valuable to your company if you are even more valuable outside.”

To build a personal brand, marketers must identify three words that describe their story and their voice, Tobaccowala said, “and do this without alcohol.

“If you want to be a leader, people must care about who you are and not your title.”

Read other PromaxBDA Station Summit coverage here.

Tags

Comments (1) -

jdshaw Nickname posted over 3 years ago
Local TV stations are in the commercial delivery business. Content is the pesky stuff that fills time between commercials.
Marketshare Blog Playout Blog

Twitter

TVNewsCheck

Ratings

Overnights, adults 18-49 for September 29, 2016
  • 1.
    1.6/6
  • 2.
    1.2/4
  • 3.
    1.2/4
  • 4.
    0.9/3
  • 5.
    0.6/2
  • 6.
    0.3/1
Source: Nielsen

Reviews

  • Rob Owen

    Easily fall’s best broadcast network comedy pilot, NBC’s The Good Place offers a clever high-concept premise that’s complemented with intelligent, sometimes absurdist humor. Created by Michael Schur, co-creator of NBC’s Parks and Recreation, The Good Place is a highly serialized series that’s essentially set in heaven and stars Kristen Bell and Ted Danson. NBC made five episodes of The Good Place available for review, and the show not only holds up, but also it improves, deepening characters that initially feel one-note and frequently leaving viewers guessing with cliffhanger endings to many of the episodes. The combination of snappy dialogue and winning but flawed characters makes The Good Place a great bet for fans of smart TV comedy.

  • Maureen Ryan

    Pitch has swagger, for good reason. It gets the big things right; the Fox drama about the first female baseball player in the Major Leagues is one of the year’s most assured and exciting debuts. But part of what impresses about the pilot is also the way it confidently strings together so many small but telling details. Ginny (Kylie Bunbury) is the first woman to be called up from the minors to the big leagues, and no show since Friday Night Lights has done a better job of portraying the internal and external pressures that weigh heavily on young athletes asked to do much more than merely succeed on the field. Pitch will likely do a good job of getting viewers to root for it. The hope is that the show won’t be an impressive, short-lived curiosity, but rather a long-term phenomenon.

  • Kevin Fallon

    In a fall TV season that’s already making a splash for championing diverse, distinctive voices in an array of projects that they created, wrote, and starred in, Better Things on FX stands out. The show is created by, written by, and starsPamela Adlon. She plays Sam Fox, the single mother of three daughters modeled after her own reality-show-ready experience raising three girls in Los Angeles following a divorce. Sam is also, like Adlon, a working actress — on shows both raunchy, a la Californication, and animated for children, like her role on Recess. It’s a refreshingly blunt take on single motherhood without sacrificing the warmth of parental love, portraying the dance between selfishness and selflessness that’s at the heart of being a parent — especially one weathering the hormonal fireworks of a household of four women at different ages.

  • David Wiegand

    The fall TV season doesn’t count as much as it used to — we already know that. But no matter how many retreads the broadcast networks throw at viewers in the next few months, this fall will be memorable because of the premiere of Atlanta on Tuesday, Sept. 6, on FX. The half-hour comedy created by and starring Donald Glover (Community), simply and brilliantly recalibrates our expectations of what a TV comedy is and how black lives are portrayed on the medium.

  • Louisa Ada Seltzer

    The second reboot of the 1980s John Candy movie Uncle Buck, bumped by ABC from midseason, has the same tired jokes you'll find on any second-rate sitcom. Too bad, because Mike Epps is appealing and ABC would be wise to keep him around for future shows, but there’s just not enough to this show to suggest it will last past summer. It also airs against NBC’s America’s Got Talent, summer’s No. 1 program on broadcast, which may make it even harder to find an audience.

  • Neil Genzlinger

    Bryan Cranston brings his Tony Award-winning interpretation of President Lyndon B. Johnson to television in an adaptation of the Robert Schenkkan play All the Way, and it’s still quite a sight to behold, just as it was on Broadway in 2014. Nothing beats witnessing this kind of larger-than-life portrayal onstage, of course. But the television version, presented by HBO, offers plenty of rewards, allowing Cranston to work the close-ups and liberating him from the confines of a theater set. Cranston’s performance is a gem — in his hands, this accidental president comes across as an amazing bundle of contradictions, someone who seems at once too vulgar for the job and just right for it.

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