Archive for December, 2011:

John Woo and Machinima Launch Animated Series ‘Seven Brothers’

Filmmaker John Woo has teamed up with Machinima to adapt his graphic novel Seven Brothers into an animated online series.

Woo, who is known for his Hong Kong action films Hard-Boiled and The Killer, and American films Face/Off and Mission: Impossible 2, will be premiering the first four episodes of Seven Brothers exclusively on Machinima’s YouTube channel.

The series is written by Garth Ennis (Preacher), drawn by Jeevan J. Kang (Spider Man: India) and produced in association with Liquid Comics and Tiger Hill Entertainment.

“For me, working in comics is quite comfortable – it’s like the ultimate storyboard. The original Seven Brothers graphic novel, and this new animated comic book series, takes the seed of an idea I had about famous Chinese folklore to a whole new level.  It creates a modern, global story, and an art form that is unique and yet, clearly, a brother to the film medium,” Woo said.

“We at Machinima are excited to partner with the Liquid team and world-class action directors like John Woo,” said Allen DeBevoise, Chairman and CEO of Machinima. “Because of the strong overlap between the worlds of video gaming and comics, Machinima was the natural distribution outlet for this high-octane animated series.”

Seven Brothers tells the story of how, six hundred years ago, long before history’s great explorers stole the credit for their feats, mighty Chinese treasure fleets set sail to reach every continent. These voyages of discovery left behind an evil legacy and a plot by a powerful Chinese sorcerer to dominate the world. Now, in modern day Los Angeles, an ancient prophecy must be fulfilled and seven men, with nothing in common but their destinies, must face the Son of Hell to save the world.

Blip.tv Raises Another $6 Million, Co-Founders Take Off

Blip.tv has raised another $6 million according to an SEC filing yesterday.

According to the filing, Blip sold a little over half of its $11 million offering for what would be its Series D round. According to TechCrunch, this was an inside round by Blip.tv’s existing investors, Bain Capital and Canaan Partners, which brings the company’s total raise to $24 million.

This past year Blip successfully redesigned itself as a destination site in May, poached top YouTube talent in a deal with the Collective Digital Studio, and just last week debuted a new logo. Although Blip has been making strides as a destination site, the bulk of its traffic is a part of a multi-tier strategy that earns over 300 million video plays each month.

The influx of cash coincides with the recent departure of CEO Mike Hudak, following fellow Co-Founders Dina Kaplan and Charles Hope. COO Steve Brookstein has taken over day-to-day CEO responsibilities while the company’s board of directors searches for a new leader.

Recently, Blip commissioned the largest research study on online video watching habits whose key findings have serious implications for the future of primetime entertainment viewing—both online and on television.

Kanye West and Jay-Z Followed by a VoyR

Speaking of international hip-hop superstars with web series, Kanye West is the subject of an online original program brought to you by the subscription-based online entertainment startup with a name that’s clever at first, but a little less so each time you hear it.

VoyR is providing you with an all-access, behind-the-scenes pass to Yeezy and Jay-Z’s concert tour that’s promoting their much hyped about collaborative album Watch the Throne. For the low price of viewing a few stylized Jeep commercials and $4.99 per month, you can catch a “video document of all the actual work that goes into living life at Kanye’s level.” As the description continues, “It’s not about models and bottles. It’s about working hard, from the moment the sun rises, until you just can’t push your body any further.”

That may sound like your usual, let’s-entice-you-to-watch-this-super-exclusive-behind-the-scenes-footage marketing speak, but the difference with VoyR is the content is actually good.

The company released and/or let leak a handful of installments from its Watch the Throne series. Like anything involving Kanye at its core, the program is sexy, highly designed but ostensibly raw, contains a helluva lot more gravitas than your average behind-the-scenes series about a world famous musician, and is fun to watch. It offers a glimpse into the thought, business, and artistic processes of West, his collaborators, and entourage, and comes replete with concert footage and captions so viewers can be sure to witness the kind of live show Kanye puts on and  follow along at home.

The Watch the Throne original is one of many planned web series from VoyR. The company aims to be “the premiere desination for elite content of some of the leading names in pop culture, entertainment, and sports today.”

Lil Wayne Talks Sports, Green Bay Packers on New Web Series

Any fan of Dwayne Michael Carter Jr. (aka Lil Wayne), his punch-line peppered raps, ESPN The Magazine and/or Around the Horn knows the Grammy Award-winning hip-hop superstar loves him some sports.

Lil Wayne’s had a column in Entertainment and Sports Programming Network’s online version of its print publication since 2008 and talked shop with notable writers Michael Smith and Woody Paige courtesy of Tony Reali back in early 2009. When Wayne began a temporary eight-month stay at Rikers Island in early 2010 courtesy of pleading guilty to a gun possession charge, he passed the time by blogging about sports.

Now, Lil Wayne is putting that passion for professional athletics, a recent penchant for odd behavior, and a seeming want to not rap into video form. He released Weezy’s Sports Corner on December 24 with producer/friend Derick G.

The program features the Young Money president on a couch, surrounded by paraphernalia of the only publicly owned non-profit corporation in the NFL (aka the Green Bay Packers), talking about the NBA, skateboarding, and every major athletic competition in betwen.

“Sports only,” says Wayne in the premiere. “This will be an unscripted show, unrehearsed show. I’ll talk about whatever I want to talk about. I’ll talk freely. If I have guests, they can talk freely, and they can speak about whatever they want to speak about.”

The first installment is broken up into seven parts and new episodes are promised every Saturday. If you’re the kind of person who wishes your AM sports radio commentary was delivered by way of video camera and America’s most popular rapper, then Weezy’s Sports Corner is not bad! At least aside from almost overbearing ambient noise. I hope Derick G gets Lil Wayne a better mic setup for future installments. If anyone should know the importance of high quality sound in an entertainment product, it’s these guys.

Celebrate New Year’s Eve with the Internet

Mary Matthews wants to celebrate the New Year with you. Virtually.

For the fourth year running, the old school video blogger (behind online video classics like 39 Second Single), internet collaborator (who orchestrated the web’s largest slow dramatic clap), and Transport Workers Union of America’s Interactive Media Producer/Director (responsible for projects like The Worst Governor Ever Award) wants you to snap a photo of whatever it is you’re doing wherever you are on New Year’s Eve and send it to her at mcmpressATgmailDOTcom by 5PM EST Sunday, January 1. Matthews will then compile the results into a well-edited, collaborative photo montage with an accompanying song that’s at once both nostalgic and inspiring.

The cooperative “virtual Times Square” is called Project Midnight. You can check out the final product from NYE 2009 through 2011 on the official webpage. They’re good.

“It began as an organic way to spend midnight with all of my family and friends spread out across the country,” Matthews told me over e-mail. “The idea of all of us being in one place – a video – together to kick off a new year really appealed to me. I opened it up to total stangers via Facebook and Twitter as well and its grown each year.”

If you’re feeling overwhelmed with all the forced hype and social pressure to have one helluva New Years Eve, just relax, go or don’t go to whatever party will make you the most happy, be sure to bring your camera to snap a pic when Lady Gaga makes that ball drop and send it to Matthews to ensure you’ll spend the first moments of 2012 with a few crowdsourced-project-loving people you know and a few people you don’t.

Programming vs. Randomania

[Editor’s Note: The following guest post was written by Rob Barnett, Founder/CEO of My Damn ChannelYou can follow him on Twitter at @damnrob.]

Evan Shapiro runs IFC, a consistent, smart television favorite delivering killer original comedy n’ more. He recently wrote a piece in Huffington Post called The Death of Television.

Evan’s article created a good amount of dialogue online. TV’s death is a premature pronouncement. But the angst and passion that led so many of us online has created a mass sea of choice.

The tech magic beneath our fingertips continues to give the audience awesome tools to become smarter and more in charge than ever before about finding what they want. But there’s a Babel-effect in play now creating a deafening din. Imagine walking into an ice cream store that featured 31 million flavors and trying to honor the choice you’re about to make.

If Gil Scott-Heron were still here, I’d ask if he believed “the revolution” must now be programmed.

Audiences need more effective ways to make viewing choices a few notches easier than the current randommania which pushes some of the best content too far away from finding the audience it deserves.

In early 2012, My Damn Channel will launch our new partnership with YouTube to create, produce and distribute more of the best original comedy we can bring from talent we love. Many of our artists are looking for a safe haven from the constraints put on their art in the old system. We’re going to use some of the old TV rules to help their new work get the best launch pad online. Daily and weekly LIVE hosted programming will bring the topical relevance and audience interaction that TV always provided, but passive online viewing sometimes lacks.

The best storytellers in original online entertainment know that the content which breaks through more than most has to speak with a new voice and present itself with a whole new face that looks like the audience looks now. The scrutiny judging every one of us who create entertainment for the pleasure of the masses has never been greater. We deserve to be challenged to deliver the best work possible.

We had a great run in the late 90s when I worked for Jeff Gaspin at VH1. I’ll twist one of his best TVisms and re-apply it to the next great leap forward online: THE BEST VIDEOS WIN.

My Damn Channel is the brainchild of its Founder/CEO, Rob Barnett. My Damn Channel is an entertainment studio and distributor of premium original programming by established and emerging talent from film, TV, and the Internet. Since 2007, Rob and his team have built My Damn Channel into a successful brand and business where top talent, loyal fans, and major advertisers come together to create the TV network of the future. Rob has produced radio, television, film, and new media with hundreds of diverse communicators including President Bill Clinton, Oprah Winfrey, The Rolling Stones, Bono, Jimmy Kimmel, Adam Carolla, Johnny Rotten and more. He was the President of Programming for CBS Radio from 2004-2006, where he oversaw content development for more than 179 stations, and launched new formats in 30 markets. Rob was a production and a programming executive at MTV and VH1 for more than 11 years, where he produced news, specials, and series for both outlets and oversaw all network programming. At VH1, he was VP of Program Planning during the network’s surge in the late 90s with iconic hit shows including Behind the Music. Rob worked as an independent producer for projects including Martin Scorsese Presents the Blues, a multi-part, PBS film series; Staffers, a reality TV series on politics; and Inside the Bubble, a documentary feature film on the 2004 presidential campaign.

‘Shit Girls Say’ Mom and Sisters Want Credit for Their Lines

Making a Twitter account, a Tumblr blog, or a coffee table book with a single premise that’s easy to execute multiple times is difficult but doable. Turning that Twitter account, Tumblr blog, or coffee table book into a live-action television or web series can be more challenging. What works when confined to the real estate of 140 characters or a small caption, doesn’t easily translate when given the wide expanse of longer forms of entertainment. That’s especially true for one-liners. You Might Be a Redneck jokes have laid a strong foundation for at least one comedian’s career, but they haven’t been the basis for any major motion pictures or television programs.

The creators of Shit Girls Say know this. And that’s why they’re trying to mix their web series up.

The first two installments of Toronto-based filmmakers Graydon Sheppard and Kyle Humphrey’s Twitter-turned-online-original about terribly ordinary things humans without a Y chromosome are prone to communicate feature cuts of Sheppard doing his best Kids-in-the-Hall-in-women’s-clothes impression while reciting banal expressions poached from pages of his tweets. They’re great.

The third installment features Sheppard in two scenarios at a bar with twinsie Juliette Lewis. The pair fight about who’s the bestest and talk at each other for a few. It good, too, but it’s gotten almost double the amount of Dislikes on YouTube as Episode 2 with nearly 1/15th the amount of Likes, which means fans don’t dig it nearly as much as the originals.

I think that’s okay. Sheppard and Humphrey realize that a one-note web series can only last for so many episodes, so they’re trying to diversify their entertainment options early. Instead of a handful of installments with Graydon reciting hackneyed lines in common locales, he and Humphrey mix it up so their series can potentially have a life span beyond whatever the normal age is for an entertainment property comprised of repeating one-liners in varied scenarios.

Sheppard and Humphrey told me over e-mail they will release at least one, maybe two more installments of Shit Girls Say. And just in case you’re wondering, their mothers and sisters love the series, though they want credit for the use of their lines.

A Look Ahead to 2012 in Online Video

[Editor’s Note: The following guest post was written by Chris Young, CEO of DBGYou can follow DBG on Twitter at @dbgtv.]

There’s no question that online video has made great strides in 2011. Online video sites enjoyed record viewership and more ambitious programs than ever originated on the Web, garnering the kind of national media attention historically reserved for network TV.

In its most recent Video Metrix report, comScore reported that during the month of November, 83 million U.S. Internet users watched online video content, or an average of 20.5 hours per viewer. The total U.S. Internet audience viewed 40.9 billion videos – a figure that speaks volumes to the prevalence of online video and the growing opportunities that lay ahead for both content creators and advertisers.

This shift in consumer behavior and the emergence of short-form digital programming has enabled the development of innovative, talent-driven digital content such as DBG’s The Confession starring Kiefer Sutherland and Christopher Kubasik’s Booth at the End – not to mention the announcement that Netflix is bringing original episodes of Kevin Spacey’s House of Cards to the service.

With that in mind, we think there will be two major trends likely to bubble up in 2012.

The Web Will Be Programmed

The discovery of online video in 2012 will undergo a significant transformation. Instead of forcing consumers to search large-scale video platforms and portals, top video publishers will roll out channel strategies to make video discovery easier. As this paradigm shift occurs, I believe channel loyalty will develop, benefiting both the consumer and the publishers.

Given YouTube’s recent announcement of the creation of 100 online video channels featuring original programming, it certainly will be an exciting 2012. As the web is programmed, there may very well be a shift from the current “click-it-when-you-see-it” mentality to a more purposeful viewing behavior.

Multi-Channel Everywhere

Recent reports on the surge in mobile video viewership have made it abundantly clear that consumers have become screen agnostic. As a result, the demand for short-form video made specifically for the small screen has increased dramatically. As this trend continues, social, mobile and out-of-home campaigns for online content will become the norm. Marketers will learn to leverage their existing properties to drive viewership for their new online video programs. As this occurs, we’ll see even greater awareness for online video programming.

Agree with my look into the crystal ball? Disagree? Let me know in the comments what you think is next for online video.

Chris is the Chairman and CEO of Digital Broadcasting Group, overseeing all aspects of company’s operation. In 1999, Chris co-founded Klipmart and built it into the nation’s largest provider of online video advertising and management solutions. In June of 2006, under Young’s leadership, Klipmart was purchased by now Google-owned Doubleclick. At Doubleclick, Chris held the role of Executive Vice President of Rich Media and Emerging worldwide, working to accelerate innovation in digital video and emerging advertising formats.

Old school remote control advert by Zenith.

YouTube Lets You Make it Snow

The engineers that be at YouTube are getting into the season by giving online video viewers the power to channel them some Dean Martin.

In the same vein, but a different holiday spirit as the internet’s largest video sharing site’s Audio Preview Button for inane commenters, Actually Good Tab that spoofed America’s finest news source, annoying but addictive Vuvuzela Button, and rainbow-bright Nyan Cat Progress Bar, comes the latest quirky feature to be added to a player that’s seen 88.2 billion times a month worldwide. The Let it Snow Button.

Check it out in action in one of the latest installments of LivePrudeGirlsLet’s Talk About Something More Interesting featuring Tubefilter’s very own Marc Hustvedt. (Editor’s Note: Given the title of the show, you think they could’ve found a better guest. ZING!)

To enable some snowflake-falling action, simply click on the snowflake-y looking button on the bottom-right of the video player next to the Closed Captioning icon. Then watch and enjoy as some no-two-are-alike flakes fall down the screen and accumulate at the bottom. For some interactive fun, move your mouse around the video player to simulate wind. The flakes will fall wherever you blow them. You’ll also notice the progress bar features a starry snowflake-looking sphere as opposed to your regular average circle.

Only a small percentage of YouTube videos have the Let it Snow Button enabled. Stay away from that frightful weather outside, turn the lights way down low, and enjoy the delightful fire while you find them.

2012: The Year Web Video Turns Into 2 Businesses

[Editor’s Note: The following guest post was written by Steve Rosenbaum, Founder and CEO of Magnify.net and author of Curation NationYou can follow him on Twitter @magnify.]

In the past twelve months we’ve seen the first generation of web video business models draw to a close, and the emergences of devices and business models that will fuel powerful continued growth in the year ahead.

Is YouTube Still in the Business of UGC? 

Since web video began, User-Generated Content sites have counted on advertising revenue as their economic salvation. Despite the belief in this model, and a steady stream of venture capital, advertisers haven’t bought in. Instead, money has flowed to quality created content, and quality curated collections.

Google looked at the trends and made a massive pivot in the YouTube model, effectively shifting from a neutral content aggregation and delivery platform into a ‘studio’ model that puts them in the position of funding, and promoting content. This is a smart strategic shift, and one that has the potential to give convention cable networks and other emerging distributors a powerful new competitor. At the same time, it further diminishes Google’s interest in what used to be called ‘the long tail.’

My prediction is that YouTube won’t go out of the UGC business, in fact, I predict the exact opposite. I think you’ll see more creative ways to monetize YT, including new partnerships with portal players, 3rd party ad units, and the emergence of important sponsorship and co-branded pages. It’s unclear if YT will build these offerings, buy them, or partner with others to provide them. But AdSense text ads for video aren’t alone going to fund the future of the middle market of video. Instead, you’re going to see some number of business users look to take more control over their content, their ad units, and the community around their media.

What Happening Over The Top? 

At the same time, the delivery system for video is very much under construction. The so-called “Over The Top” competitors have had a busy year – with Google TV v1 falling flat… but v2 looking promising, and Netflix’s ill-fated Qwickster dying a quick death. At the same time Boxee jumped into the business of providing digital ‘rabbit ears’ and Hulu briefly auctioned itself before returning to running the business. And now Microsoft moves to gain OTT dominance with a brand-new Xbox interface and more content deals. So, no clear winner here yet.

The big surprise in the future of video delivery is that it may not be the flat screen at all. Kindle Fire, the newest kid on the tablet block is off to a stunningly fast start as a video and VOD platform. IHS Research projects Amazon will ship 3.9 million units in Q4, recording a 13.8 percent share of global tablets shipped, compared to Apple’s 65.6 share. While the data is still new, all indications are that Kindle Fire is going to burn up the video consumption charts, making Amazon Prime Video a powerful contender for table, OTT, and mobile video consumption.

Everyone’s a Publisher

Meanwhile, on the content side of the world, it appears there is now a consensus that everyone needs to be a publisher. This means Brands, Networks, and Print Media all are vying for a spot in your overflowing content ‘in box.’ What is a publisher in this new world of Digital Overload? It used to be publishers were content creators, but increasingly publishers are taking on the role of content filters. Finding, Organizing, and Presenting coherent content is wrapped in to the role of Curator that brands and media now embrace. Magnify.net sits squarely in the center of this revolution.  As the webs largest video curation platform, we watch as Parenting.com, TEDx, and Patagonia all power their video experiences with our flexible toolkit.

The next twelve months are going to be transformative. Web video will become simply ‘video’ – made everywhere and consumed everywhere. And brands and companies, who’ve contemplated using video to tell their story or connect with consumers, will find that the train is leaving the station. It’s time to get on board the video express,  or be left with an unpunched ticket in your hand. That would be just sad.

Steve Rosenbaum has been working with Curated Content since he created the groundbreaking hit MTV UNfiltered in the pre-web days. Since then, he’s been a storyteller, filmmaker, and executive at media and web properties. He’s produced films for HBO, A&E;, National Geographic, CNN, MSNBC, and Discovery. Now, as the founder and CEO of Magnify.net, he runs a platform company that allows Publishers, Brands, and Web communities to embrace web content with Aggregation, Curation, and user Contributions. Steve is also the author of the book Curation Nation published by McGrawHill.

INDMUSIC Takes On the New YouTube

[Editor’s Note: When YouTube went live with its redesign in early December, it was the online video industry equivalent to the launch of a new iPhone. In other words, a very big deal. The following guest post was written by Brandon Martinez and Jon Baltz, the collective Co-Founders and respective CEO and VP of Marketing for INDMUSIC. They share their thoughts on how design changes to a site that delivers 88.2 billion videos a month affects their business as a burgeoning YouTube Network. You can follow INDMUSIC on Twitter @INDMUSIC.]

Every time a major website goes through a design change it sets off a firestorm. The reaction generally ranges somewhere between kicking a puppy and setting grandma on fire. Google is deliberate about major changes and the new YouTube channel layout is exactly the type of change that can’t go wrong. So did it?

From a Network Perspective

A little background about what our organization does on YouTube: INDMUSIC is a music content network that produces professional videos and also enables other music-related channels (independent bands, labels, and anyone making content about music) to monetize their views and all the other fun that comes with being a YouTube Partner. The new layout for our page allows viewers to instantly identify that INDMUSIC is a network and demonstrate that if you like our content, you’re bound to enjoy some of our partners as well.

Our company is definitely the new kid on the block, but we’ve had a few years experience with YouTube in our various other positions. We like the new layout because it allows us to feature a video, highlight playlists of series that we want to continue to drive views to, and shout out our channel partners all at the same time. With the old layout there was no way to put so much varied content on the same page without it seeming cluttered. The change allows us to put all of our content in front of our audience without causing them too much visual distress. Ideally, this leads to stronger brand loyalty and will allow us to curate for our audience.

Bloggers Know How to Lay Out

As suggested by Phil DeFranco the only featured tab worth using is “Blogger.” Even if you aren’t a blogger, it lets you add multiple channels, playlists, and feature your uploaded videos. All of the other formats are clunky and don’t give you the variety of options, so don’t waste your time, listen to Phil, and just use Blogger.

One downside we’ve found is that you can’t manipulate your other channel pages; they appear in the order you input them. That issue becomes a bigger deal for us when we want to feature channel partners by placing them at the top. If an artist has an album or official video coming out, we’d like to bump them up for increased visibility, but can’t do this without deleting each channel before them & starting from scratch. If you have a workaround, please let us know!

Analytics Are Your Friend

The new analytics overview screen is similar to fuller CMS (Content Management Systems) accounts, offering informative graphics and stats about your video’s performance, audience engagement, and audience demographic information.  The information is easy to read and interpret. The improved audience retention feature shows where people lose interest in your content so you can figure out how to improve those weak areas. Analytics also let you see where your viewers are watching your content (geographically and which website they used).

Why is all that important? For example, as an artist, you might find you have a huge Icelandic fan base that watches your videos on Facebook on Wednesday. You can use that information to directly engage with the audience on Facebook, get ideas for future videos, and build your online community. Hell, maybe even start a Kickstarter campaign to get your fans to send you to Iceland (we hear it’s beautiful in Summer).

The YouTube changes favor content creators, allowing your fans to interact with your channel with greater ease and comfort. Is the new layout going to change the game? Probably not, but it puts more content in front of the viewing public, which is going to make a lot of content watchers very happy.

Brandon Martinez is the Co-Founder & CEO of INDMUSIC, a music startup focusing on monetizing video content for unsigned and independent musicians. Previously, Martinez was the Head of Digital Media at Abrams Artists Agency, a top 10 bi-coastal talent & literary agency. Martinez formed the Digital Media Department in 2008, spinning it out of the Alternative Programming Department, as an assistant. He worked to develop emerging independent talent into premiere writers and directors of today.  Martinez led his creators to groundbreaking deals with Digital Broadcast Group, BET Digital, Sony Online Entertainment, and BBC Worldwide, among many others. He can be reached via Twitter at @Awesomeosity.

Jon Baltz is Co-Founder and VP of Marketing for INDMUSIC, a YouTube channel that aggregates the best music content on the web. If you produce music videos for YouTube and would like to be featured or interested in joining the network email: contactATindmusicnetworkDOTcom. He can be reached via Twitter at @jonbaltz.

NewTube or Old Model?

[Editor’s Note: When YouTube went live with its redesign in early December, it was the online video industry equivalent to the launch of a new iPhone. In other words, a very big deal. The following guest post was written by Doug Scott, President of OgilvyEntertainment, who shares his thoughts on how design changes to a site that delivers 88.2 billion videos a month will or won’t affect the online video industry. You can follow him on Twitter @DougScottOgilvy.]

Many people have recently asked me what I think of the YouTube redesign and if this will change the online video industry. Well, I have to say that although I find the design easy to use and intuitive, I am not sure that this is going to have much impact on the industry (it should however have a positive impact on YouTubes ad inventory and Googles stock price).

We are at a very interesting point in the history of video consumption. If you look at it through a programmer’s lens, there is an over-supply of content with a limited amount of time that we have to consume it. If you look at it from a consumer’s perspective, we are able to view content on a multitude of screens, when and how we want to but, for the most part, programmers are still offering us a linear viewing experience. And lastly, for the brand, there is the ability to not only target one’s audience but also tailor the message. But neither of those promises have been truly delivered, at least not to the extent that the brand is getting greater efficiency from their media, leading to an an increase in sales/leads.

In my point of view, the big opportunity for YouTube and other content distributors is to use technology as an enabler, to address the needs of all three parties involved in the entertainment transaction. If done properly, consumers will receive a richer, more meaningful experience, being delivered when, how and where they want it, brands will get a decicated, engaged audience, and distributors will be able to capture valuable data, which in the digital economy is the new currency.

Doug Scott is the President of OgilvyEntertainment, where he has, since June 2006, been developing and producing brand funded entertainment for clients, including The Business of Innovation for IBM, Digital Cribs for Cisco, The Invested Life for TD Ameritrade, and an animated series for Capri Sun. Before Ogilvy, Doug was co-founder of MATTER, where he developed and produced high visibility integrated marketing programs including Diddy Runs the City for Sean Combs, the Lohas Conference for Ford Motor Company and Blender Sessions concert series. Prior to MATTER, Doug was Executive Vice President, Marketing and Branded Entertainment Creative Director at Hypnotic where he developed the Chrysler Million Dollar Film Festival for Daimler Chrysler as well as programs for Reebok, Nintendo and Toyota. 

8-Bit YouTube Logo by Graham Smith.