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Facebook Video vs. YouTube – Why Brands Should Now Upload Directly to Facebook Timeline

3 Mar

Facebook vs Youtube Graphic     Facebook has recently changed the way it integrates video into your feeds and timelines and it has vast implications for engagement and views.

      Under its former protocol, one could link a video from YouTube, Vimeo, or another channel such as Videolicious into a post.  Facebook would then integrate a small video frame for the viewer to click or touch.

      Fast forward to the present.  Videos now uploaded directly to Facebook appear as native content that auto-plays in the user’s timeline.  Users or followers no longer have to click or touch to view the video.  The changes are critically important  for brands, including news outlets that thrive on engagement, activation, and sharable content.

     With this change in the digital landscape, I conducted a simple experiment.  As a news anchor and reporter I routinely create short videos on my iPhone using Videolicious to post on Facebook alerting our followers to the stories we will have in the evening newscast.  I call it “Tim’s Phoning It In.”  Recently, during the course of two nights I posted one video as a Videolicious link, the next night’s report was uploaded directly to YouTube as a native video.

      Here is the Video from January 30th posted as a link.

      This is the post the next night as a native Facebook video.

 

       The methodology was fairly simple.  The videos were posted each night at 7:45 p.m. with the results measured at 10:15 p.m. the same night.  The results showed significant increases in both reach and views with the native YouTube video receiving an 855% increase in views from the night before. (Figure 1) 

Figure 1

Figure 1

      In full disclosure, there are limitations to this experiment.  Among them is the potentially different Facebook user-ship rate between the two nights.  Additionally, the second video may have been perceived as simply more compelling content than the one posted the previous day.  Also, the potential of snow in the forecast during the night of the native Facebook video posting could have been a supplemental motivating factor.  But I strongly suspect the auto-play feature of the second posting played a significant role in the increased exposure. 

Figure 2 - Socialbakers.com

Figure 2 – Socialbakers.com

       This hypothesis is tested as major brands are already making the shift from YouTube to Facebook.   Data tracked by Socialbakers shows how increasingly brands are now posting more video content to Facebook than they are to YouTube.  (Figure 2)

     Additional research from Socialbakers shows how Facebook videos dominated during the most social event of the year—Super Bowl XLIV.  Super Bowl sponsors found overall engagement with followers on Facebook overtook YouTube for the first time. (Figure 3) 

Figure 3 - Socialbakers.com

Figure 3 – Socialbakers.com

      That’s not to say YouTube is no longer important.   YouTube is still the channel brands need to have a presence on because of its search functions.  Additionally, longer format videos are ideally suited for YouTube whereas Facebook holds the advantage with shorter messaging that’s meant to be perishable—in other words, needs to be seen now.   In this case Facebook is ideal for news videos and brands running time sensitive marketing promotions.  The landscape is changing so rapidly that AdAge now includes Facebook videos in its weekly advertising engagement report.

       The changes are big and offer brands, and yes, news organizations new opportunities in reaching their followers.

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Cross-Channel Integration – How The White House Made D-Day More Than a Speech

13 Jun

Obama D-Day Collage

       It’s a case of old school vs. new school communication.  Plato vs. Zuckerberg.  That is, speech vs. social media.  But in reality the two can and should complement each other and the White House communications team has just given another example of how to use and integrate these new channels to amplify an important message.  In this case D-Day.

      In many respects, President Barack Obama’s speech in Normandy was itself a teaching machine.  Filled with powerful rhetorical imagery and metaphoric values, he used the world’s oldest form of communication to commemorate and honor the past and reassure the future.

      The president’s opening line was itself masterful in its metaphoric power:

                   If prayer were made of sound, the skies over England that night would have deafened the world.”

 His second sentence was equally illustrative in its imagery:

“Captains paced their decks. Pilots tapped their gauges. Commanders poured over maps, fully aware that for all the months of meticulous planning, everything could go wrong: the winds, the tides, the element of surprise — and above all, the audacious bet that what waited on the other side of the Channel would compel men not to shrink away, but to charge ahead.”

      Gathered among an audience of D-Day veterans and foreign leaders the president had three clear goals in this address.  First, to remember and acknowledge sacrifices paid on the beaches of Normandy and to keep the story alive.  He did it in the form of a rhetorical challenge:

                   Whenever the world makes you cynical — stop and think of these men.”

     Second, the president needed to reassure America’s European allies that it’s un-waivered in its commitment to a free continent.  Finally, he had to acknowledge the continuing sacrifice U.S. service members are still giving in a post 9-11 world:

“And as today’s wars come to an end, this generation of servicemen and women will step out of uniform. They, too, will build families and lives of their own. They, too, will become leaders in their communities, in politics, in commerce and industry — the leaders we need for the beachheads of our time. God willing, they, too, will grow old in the land they helped keep free. And someday, future generations, whether seventy or seven hundred years hence, will gather at places like this to honor them — and to say that these were generations of men and women who proved once again that the United States of America is and will remain the greatest force for freedom the world has ever known.”

 

D-Day Blog WH Facebook

Figure 1 – White House Facebook post of the D-Day event linking to a YouTube video.

        For a president severely struggling at home and in congress, it may have been one of his better moments.  But the challenge for the White House was not letting the message disappear into the sands of Normandy.  Major media coverage significantly helped.   But as an established brand, the White House also controls its own messaging, and in this case it tactically coordinated and integrated the D-Day message across multiple media channels to ensure it was targeted to a series of narrow audiences for the widest possibly reach. (Figure 1)

         First and foremost, was the YouTube video of the speech.  But the White House communications team also targeted separate messages, pictures, and excerpts of the speech to individual social media channels. (Figure 2)  The multi-channel integration creates a hub and spoke network to target individual audiences where they live in social media.  

Figure 2 - The White House cross-channel integration profile.

Figure 2 – The White House cross-channel integration profile.

    In an age of modern communication it’s a smart strategic use of social media to amplify a message and engage participation.  If there was any fault in this particular strategy, it’s in the fact that the communications team should have tactically posted more images and messages throughout the day with a more coordinated effort in each post to link and drive audiences to the blog and the YouTube speech.   In that respect, it’s one miscue an otherwise disciplined communications team.

      It doesn’t have to be a presidential speech.  The lessons for brands, corporate communication teams and non-profits alike are profound.  Compelling content doesn’t have to live and die in a single space.   Integration across multiple channels is key—and often free.  The White House team gives a useful strategic road map for communicators to follow.

Embracing Vine — How One Veteran Political Journalist Tweets a New Narrative

26 May

Rachel Blog Cover Pix

   One of the great challenges for brands and journalists alike is engaging consumers in an era where information is a snack and not a meal.  One of Minnesota’s premiere political reporters is now measuring that engagement by seconds in addition to column inches.     

    The Minneapolis StarTribune’s Rachel E. Stassen-Berger is more than a newspaper reporter.  She’s a multi-platform, multi-channel journalist who writes, blogs, tweets, and even produces video stories for startribune.com.  With more than 36-thousand tweets she is a prolific user of Twitter and one of the state’s most followed political journalists.  And it’s through Twitter that she’s experimenting with seven-second Vine videos to engage her followers in new ways.      

     “We’ve been using Vine for a while in various ways and I’ve sort have played with it a little bit in journalism,” said Stassen-Berger.       

     Like most news organizations, the StarTribune has encouraged its reporters to embrace social media and use various channels such as Facebook, Twitter and Vine to reach their readers where they live in social media.  New research from John H. Parmelee in the Journal of Media Practice shows how most American political reporters have settled in on Twitter.   For Stassen-Berger, the perfect opportunity to expand her use of Twitter with embedded Vine videos came during Governor Mark Dayton’s State of the State address where she approached Democratic lawmakers inside the House chambers and asked them what they wanted to hear from the Governor.        

    Here are three of her vines:

 

 

      After the governor’s address, Stassen-Berger captured the Republican response from two candidates seeking the party endorsement to run against Dayton.  

 

 

  

     For Stassen-Berger’s followers, the tweets and vines when followed in real time help tell a brief narrative about the story.  Furthermore, the Vine video with sound extends credibility to the tweet and makes the news event itself more accessible, more real.

     “I think the moment that it crystalized with me as a good use of it was actually on caucus night,” said Stassen-Berger.

     “I was in the office and was running a live blog and all sorts of reporters were out in the field and feeding to me so I could feed the live blog.  And one of the things I said to them was, ‘Try to use Vine and particularly if you can go up to someone and think of a specific question and say you’ve got seven seconds to answer.’” 

Figure -1 Pew Research Twitter News Consumers

Figure -1 Pew Research Twitter News Consumers

      Through trial and error, Stassen-Berger says the secret is to come up with a focused question that the subject can answer very quickly.  It also takes persistence and a little patience.  “It takes a couple of takes.  Because it’s only seven seconds and it’s a challenge,” she said.

      As news consumption habits change, the use of Vine to give little snippets of context to a news event through Twitter is a smart strategy.  New insights by Pew Research Center show the overall Twitter user base is still relatively small, but those who are on the channel are relatively strong news consumers.  Pew found that half of Twitter’s users are seeking news. (Figure 1)

     That important insight collides against further Pew research that shows the number of consumers watching online news videos is steadily growing—now more than half all online video viewing. (Figure 2)  Increasingly, more of that video is consumed on mobile platforms.  Digital analytics agency comScore just released new research showing mobile video viewing has risen 37% in the past year among German consumers, a strong indicator of a trend that is typically later matched by U.S. audiences. 

Figure 2 - Pew Online Video News Demographics

Figure 2 – Pew Online Video News Demographics

      Pew also finds that the viewers who are watching online news videos dramatically trend young.  Nearly half of all 18-29 year olds watch online news videos. This is a critical audience to news organizations as they try to engage young consumers who watch less television news and read fewer newspapers than previous generations.

    Furthermore, the use of Vine in news coverage doesn’t just tend to lend more credibility to the story but also the storyteller.  After all, much like the newspaper she writes for, Stassen-Berger is a powerful brand herself.  By using Vine to give her followers more accessibility to the stories she’s covering, she also builds upon an important theoretical model that I’ve established called the Blotz Typology.  It’s a four-part model that provides a road map toward building and sustaining credible online relationships that in turn could lead to more engagement and more followers.

      Stassen-Berger just sees it as another way to tell a story.

       “People do react and it allows them another way to see the news,” she said.

#GiveItBack – When Social Media Campaigns Turn Ugly

3 Mar

Giveitback 1

     It was a great idea, until it wasn’t.

      Minnesota’s Republican legislative leaders have launched a clever, and useful social media effort to rally public support for returning the state’s growing surplus to taxpayers.   Minnesota’s February budget forecast projects that surplus adds up to $1.23 billion and growing.  The surplus is the result of the state’s growing economy and newly enacted tax increases passed by the Democratic controlled legislature and signed by Governor Mark Dayton in 2013.

     “State government does not need this money.  Minnesota families need this money.  So, let’s give it back,” said GOP House minority leader Kurt Daudt.  

House Minority Leader Kurt Daudt launching the #giveitback campaign and his corresponding Tweet.  (insert)

House Minority Leader Kurt Daudt launching the #giveitback campaign and his corresponding Tweet. (insert)

       In that simple declaration, a campaign was born.  Republican leaders raised a poster before TV cameras with the words “Give it Back Act” and instantly encouraged citizens to Tweet their ideas about how the state should return their hard earned money by using the simple hashtag #giveitback.

      On many levels, it’s a smart strategy.  From a pure marketing point of view, by launching a social media campaign based upon the Republican core value of lower taxes, legislative leaders could hope to not only activate its base of brand loyalists, but create a populist buzz and use the groundswell of public opinion to influence the Democratic majority to return some or all of the surplus to taxpayers in the form of tax credits or reductions.

     In a matter of hours, the Tweets started rolling in.  But, the majority of them perhaps were not what the Republicans were expecting.  It turns out, Democratic party supporters and lawmakers hijacked the #giveitback campaign and turned it against them. (Click on Figure 1) 

Figure 1 - #giveitback Tweets.

Figure 1 – #giveitback Tweets.

      Twitter campaigns can be risky at best.  Unless a brand has a substantial base of loyalist or followers, its message can be undercut by critics and cynics alike with just a few clever Tweets that are retweeted among their own followers.  That can add up fast.  Researchers at the Korean Institute of Science and Technology have found that a retweet reaches 1,000 additional viewers on average regardless of how many followers the sender has.  Complicating the strategy is the fact that it’s launched in a hyper-political election year where opponents and detractors have extra incentive to disrupt the message.

     These kind of campaigns require research.  Brand managers need to vet the hashtags which can be easily done with simple tools embedded on Tweetdeck and Hootsuite.   Advertising and PR agencies have more sophisticated tracking tools that can also aid in the research.   A simple search of #giveitback Tweets indicates that it’s a popular hashtag among teens and millennials looking to retrieve stolen items. 

Figure 2 - Justin Bieber's #giveback campaign.

Figure 2 – Justin Bieber’s #giveback campaign.

      Pop superstar Justin Bieber has even used a variation of the hashtag, #giveback, and many of his 50 million followers use it in their own Tweets. (Figure 2)  Therefore the Republicans’ #giveitback campaign is co-mingled with hundreds of non-related Tweets and gets lost in the noise.  In this case a more effective hashtag would have been one that is more specific, such as #returnthesurplus, or #returnmymoneymn. 

     With research in hand, a smart campaign also needs a cross-channel integration plan.  In other words, it needs to be leveraged on a branded website, Youtube, Facebook, earned media, and perhaps even paid media.  An excellent example is how Toyota recently created cross-channel tactical support to drive Twitter conversations during the Super Bowl to create awareness for its new Highlander SUV.   

Figure 3

Figure 3

      Without that kind of cross-channel support, the chances of a social media campaign creating a viral groundswell are not particularly strong.  As evidence, nearly 72 hours after the launch of the #giveitback campaign, it has produced few genuine Tweets from the general public with the exception of several Republican lawmakers. (Figure 3) 

    It’s not that #giveitback was a bad idea.  In this case it made headlines and good news copy in the context of the budget surplus narrative.  And yes, there is exceptional value in that too.  But as a viral social media campaign it so far has been a swing and a miss.

Fire up Twitter—The Muppets are Driving to the Sferndy Boom (That’s Swedish Chef Speak for Super Bowl)

1 Feb

  

      Leave it to the Muppets to blow up the tired Super Bowl advertising cliche of talking babies, dogs, and bikini-clad women.

      Perhaps one of the more ingenious advertising campaigns for Super Bowl XLVIII is one that will take viewers of the big game on a virtual ride and let them interact with a brand in a different and entertaining way.

      The Muppets have climbed behind the wheel of the new Toyota Highlander for a road trip of misadventure to New Jersey and have invited all of us to come along.  They’ll live-Tweet during the game using the @Toyota Twitter account and the #NoRoomForBoring hashtag.  

Swedish Chef explaining how the Muppets are heading the "Sferndy Boom."

Swedish Chef explaining how the Muppets are heading the “Sferndy Boom.”

      This is exponentially more than just a piece of social media entertainment.  It’s actually part of a well-orchestrated and highly strategic effort on behalf of Toyota and its agency Saatchi & Saatchi to build awareness and market share for Toyota’s newly remodeled Highlander SUV.   The live-Tweeting coincides with a new commercial that will air during the game featuring the Muppets and former NLF star Terry Crews.  

 

        The campaign is strategic because it zeroes in like a laser beam on a specific target audience: busy, chaotic, upwardly mobile families.  Metaphorically, no family exemplifies that target audience more than the Muppets—America’s very definition of loveable dysfunction.    Furthermore, the adventure they drive Terry Crews through is the archetype of the great American family vacation, foibles and all.   The key branding message is that the new Highlander has room inside for everything but boredom. 

       Even the live-Tweeting during the game is no accident.  It fills what marketers now call “the space in-between” traditional and digital advertising.  In other words, allowing the consumer to customize their own brand experience—in this case interacting with the Muppets in social space.   Wisely, Toyota has even re-branded its Twitter page and its Highlander website with the Muppets so that consumers are given a consistent message with every interactive touch point.  (Figure 1) 

Figure 1 -  Toyota's Twitter and Highlander pages

Figure 1 – Toyota’s Twitter and Highlander pages

       In this regard, it’s a smart way to help Toyota differentiate itself from the other Super Bowl car advertisers by engaging viewers on multiple channels at the same time.   The Muppet’s live-Tweets will make Toyota part of the conversation during what will be among the highest Twitter user events of the year.  (24.1 million Tweets during Super Bowl XLVII)  It’s also an effective way to ensure that Toyota is getting more for its $4 million ad buy.

       It’s part of a new trend of what I call fake-celebrity endorsements.  Comic Will Ferrell created this new genre with the highly successful Ron Burgundy commercials  for the Dodge Durango.  It was all part of a highly integrated campaign to not only sell Dodges, but to cross-promote the new Ron Burgundy Anchorman movie.   Likewise, the Disney and the Muppets are using the same kind of cross-promotion for its new movie opening in March.

       Toyota hopes it sells Highlanders, too.   For the rest of us, it’s a fun and new way to experience the Sferndy Boom—or whatever you call it.

Leave it to Beyonce to Compose a New Marketing Rhythm

28 Dec

 

   The retail industry and music critics have spilled a lot of ink and a bit of angst about how Beyonce just released her new album.  By going directly to digital with a surprise social media announcement and no formal marketing campaign or retail partner such as Target, many industry watchers noted how she broke all the rules and rewrote the playbook on how to launch new music.  

Screen grab from Beyoncé explaining her new "Visual Album."

Screen grab from Beyoncé explaining her new “Visual Album.”

    In reality, Beyonce didn’t write new rules, she ingeniously employed existing rules in an orchestrated way.  Instead of using one or two effective marketing drivers, she used many at the same time.  Musicians refer to such a composing strategy as poly-rhythms.  That is, using a multiple set of of rhythms that follow the same meter to create a musical impression.  Beyonce ingeniously applied music theory to marketing. 

Figure 1

Figure 1

    Former Campbell Mithun CEO Steve Wehrenberg, a long time creative advertising and marketing expert argues that there are seven main marketing target drivers. (Figure 1)   Beyonce used each one of those drivers to propel explosive sales of her new album, “Beyonce.”

 1.  Brand Awareness:  Yep, she has it.  Her concerts are all sell-outs, and her Super Bowl XLVII half-time audience of 104 million viewers only solidified her world-wide superstar status.  Her 54 million Facebook likes are more than Target and Walmart combined.

 2.  Emotional Bond:  Has that too.  Her fans bought so many of her previous four albums that they all debuted at #1 on Billboard.  This intense bond gave Beyonce and her marketing team every reason to believe she could mobilize that bond to respond to a new album.  They did.

 3.  Product News:  “Surprise.”  Everyone loves a surprise, and Beyonce’s 8.5 million followers on Instagram were rewarded with the exclusive video announcement on December 12 of her new album–the ultimate product news.

View this post on Instagram

Surprise!

A post shared by Beyoncé (@beyonce) on

4.  Activation:  By making the new album–14 songs and 17 videos–immediately available on iTunes, there was instant incentive to buy now.  In today’s social media environment, that provides a psychological motivation for fans to buy the new album before their friends so they could be among the first to share their reactions.  It worked.   The sale of 828,777 albums in the first three days smashed all iTunes records.

 5.  Loyalty:  Here again, Beyonce rewards her most intense followers not only with the exclusive first news, but also with the reward of being the first in the world to preview and buy her new album on iTunes.  The clear message: if you’re a fan, you have to follow Beyonce on social media to be in the know.

 6.  Product Experience:  By giving iTunes the exclusive sales rights for first week of release, fans could sample each track and video before buying product–the ultimate “try before you buy.”

 7.  Buzz:  Nailed it.  Twitter reported 1.2 million tweets in 24-hours and forced mainstream media to pick up the news and spread it even further.  A real-time geotagged map by Arbitron shows how the news spread like a contagion around the world. (Figure 2)

Figure 2 - Geotag of viral Beyonce Tweets 1.5 hours after her new album announcement on Instagram and Twitter on December 12, 2013.

Figure 2 – Geotag of viral Beyonce Tweets 1.5 hours after her new album announcement on Instagram and Facebook on December 12, 2013.

        The disruptions of digital distribution to the music industry rewrote all the rules years ago, and they’ve been in play ever since.   In almost every respect, Beyonce’s production of the new record as a “video album” was tailor made for social media and digital space.  Beyonce didn’t break the rules, she simply figured out a way to take existing notes and rhythms and write new song.  If there’s any surprise to Beyonce’s brilliant marketing strategy, it should be that no other superstar artist or record label has figured it out before now. 

 

Three Great Examples of Using Instagram Video for Brand Engagement

20 Dec

Instagram Collage 12-20-13

   There’s no question Facebook still dominates among brands looking to engage customers in social media.   However, Instagram is also emerging as an effective channel to reach customers and brand loyalists in a space where research shows more of them are now living: on their mobile devices.

     Above all else, Instagram is an entertainment channel.  It allows users to tell a story with a simple picture and to see the stories other people are telling with their own pictures.  Earlier this year Instagram expanded the concept by allowing users to tell their stories in 15 second videos.   The new feature presents an opportunity for brands to visually engage people in new and powerful ways.   The challenge though, is to make them useful and entertaining.

    It’s instructive for brands to think of Instagram videos in the same way that television journalists think of “standups” in their stories.  In this respect, I’ll interject “Blotz’s First Law of Standups.”   The law is simple:  standups need to teach, demonstrate, or make a visual connection.   It’s followed by Blotz’s Second Law of Standups:  when in doubt, refer to Law #1.

    Three brands in the past 24 hours have posted Instagram videos that mirror this best practice and serve as an instructive tool.   The first is NASA.  Yes, a government agency.   NASA’s Goddard Space Flight Center created a wonderful Instagram visualization that teaches the viewer how the Apollo 8 astronauts witnessed the “Earthrise” 45 years ago this week. 

View this post on Instagram

Join NASA's Google+ Hangout: 'Earthrise' A New Visualization - 45th Anniversary of Apollo 8 Viewing Earth from Space on Friday, December 20th 2:00 - 3:00 PM (EST) at go.nasa.gov/18S2TbC It was 45 years ago, on December 24, 1968 when Apollo 8 astronauts captured 'Earthrise' - the first color photograph of Earth taken by a person in lunar orbit. NASA announces a new simulation of the events leading to the creation of 'Earthrise,' one of the iconic photographs of the 20th Century - Earth seen from the moon captured by the crew of Apollo 8. This new simulation allows anyone to virtually ride with the astronauts and experience the awe they felt at the vista in front of them. Apollo 8 Commander Frank Borman and crew members William A. Anders and James A. Lovell photographed the stunning scene as their spacecraft orbited the moon on December 24, 1968. The new computer simulation was created using data from NASA's Lunar Reconnaissance Orbiter, or LRO, spacecraft and includes details not seen in the previous visualization released last year. We hope you will join in our Google+ Hangout tomorrow to view the remainder of this new remarkable visualization of #Earthrise! go.nasa.gov/18S2TbC #nasagoddard #moon #space #apollo

A post shared by NASA Goddard (@nasagoddard) on

    Motives Cosmetics takes the concept a step further by producing an Instagram video that demonstrates how to apply various shades of its eye makeup.

    Finally, Coca-Cola, no stranger to the power of Instagram, created a pre-holiday video to make a visual connection between Christmas and unwrapping a Coke.

    The connection between these Instgram videos and Blotz’s Law is not far-fetched.  It’s what many are now calling “brand journalism.”  It’s storytelling, just in a different format on a different channel that’s primarily used for entertainment.

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