How to Plan a Multi-Platform Entertainment Campaign on Social

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Over the past five years, the number of TV shows has skyrocketed by 71% – making 2016 a record-breaking year with 455 scripted shows. With even more new video programming hitting theaters, TVs, and tablets each season, it’s becoming harder for entertainment advertisers to break through the noise.The key to being heard in a competitive environment like entertainment is utilizing a full-funnel marketing approach to reach viewers across multiple channels. Platforms like Facebook, Instagram, Pinterest, Snapchat, and Twitter are all a big part of nearly everyone's daily online activities, yet each one serves a unique purpose. To execute a successful multi-platform campaign, marketers need to know how to customize strategy and creative for each platform. Here are tips on how to use the features and formats of each platform to reach viewers and drive tune-in.

Spotlight

Broadcast Sports International, LLC

Sports, live events, and entertainment all push the boundaries of broadcast technology.At Broadcast Sports International (BSI), our engineers and operations team are at the leading edge of turnkey custom broadcast solutions - we’ve done it for more than 35 years.Our work spans some of the largest and most important events in broadcast history. Founded in 1979 by an entrepreneurial team of engineers, BSI now employs approximately 200 people worldwide and boasts a 50,000 square foot U.S. headquarters just outside of Baltimore and an international office near London. Our fleet of state-of-the-art production trailers are in action every weekend of the year at major live events.

OTHER ARTICLES
MEDIA AND BROADCASTING

The new chair of the FTC and antitrust 2.0

Article | June 22, 2021

The appointment of Lina Khan on June 15th to chair of the Federal Trade Commission (FTC) is poised to be a transformational one in the history of the world wide web. Khan came to prominence with an article in the Yale Law Journal, Amazon’s Antitrust Paradox, which identified the paradox of hegemonic tech service providers which bypass the US’ strict competition laws by offering lower prices to the end consumer. Under US antitrust law, the driving indicator of market monopolies are higher prices for the consumer – under this strict definition, none of the tech majors which dominate the digital economy are monopolistic. Indeed, some such as Alphabet and Facebook do not even directly charge the end user for their services. So, while both Google and Facebook dominate the global digital ad market, making an antitrust case against them under the current 20thcentury era regulatory framework is nigh on impossible. However, the absence of meaningful competitive challengers to these two incumbents in search and social advertising over the previous 15 years, despite the lucrative high margin business opportunities, implies that the competitive market is not performing according to classical economic theory. Khan has built a subsequent career on trying to square this circle, and now the Biden Administration has empowered her as the key instigator of the sweeping regulatory update required for a digital-first century.

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MEDIA AND BROADCASTING

The productisation of music rights

Article | June 4, 2021

News that New York-based Pershing Square Tontine Holdings is planning to acquire 10% of UMGis the latest in a wave of financial transactions in the music rights space. Alongside this, Believe’s impending IPO has the potential to be one of the biggest things to happen to the independent music sector in some time, and comes as part of a wave of IPOs (e.g.WMG,UMG), SPACs (e.g.Anghami,Reservoir) and no end of catalogue funds and acquisition vehicles. This trend, with good cause, has been referred to as the ‘financialisation of music’ but that only captures part of what is at play here. This is more than simply an influx of capital and debt; financial institutions are now becoming part of the plumbing of the music business, and in turn they are changing the definition of what constitutes success. This shift in objectives and desired outcomes has the potential to rebalance how the music industry operates.

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VIRTUALIZATION

Netflix versus Amazon Prime Video – depth versus breadth

Article | June 10, 2021

The first half of 2021 has been a year of continued change and disruption for subscription video. The global incumbent subscription video on demand (SVOD) leaders, Netflix and Amazon Prime Video, have been busy signalling to the financial markets how they intend to entrench their market dominance in light of the ongoing market acquisition pushes unleashed by the D2C disruptors following the D2C ‘big bang’ moment of Q4 2019 – Q2 2021. Netflix announced in January that it was no longer going to borrow on the financial markets to fund its day-to-day operations – specifically for its content acquisition budget, which is now driven predominately by commissioning original content for its service. This leaves the SVOD leader with $14.9 billion of outstanding long-term debt to service as it seeks to live within its means by commissioning future content from its ongoing cashflow. In Q1 2021 alone Netflix spent $500 million on servicing this debt pile versus $1.7 billion in net income generated over the same period.

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BUSINESS

The rise of the introverted salesperson

Article | May 25, 2021

The shift to virtual selling has upended the status quo for many sales teams across the country and around the world. I firmly believe, as I’ve said before, thatnearly everything can be sold over video— and in many ways the virtual sales process makes it easier for sales reps to connect with customers and build trust.Still, there has been a great deal of resistance, and some organizations have just tried to wait it out, hoping that once COVID passed, they could go back to normal.

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Spotlight

Broadcast Sports International, LLC

Sports, live events, and entertainment all push the boundaries of broadcast technology.At Broadcast Sports International (BSI), our engineers and operations team are at the leading edge of turnkey custom broadcast solutions - we’ve done it for more than 35 years.Our work spans some of the largest and most important events in broadcast history. Founded in 1979 by an entrepreneurial team of engineers, BSI now employs approximately 200 people worldwide and boasts a 50,000 square foot U.S. headquarters just outside of Baltimore and an international office near London. Our fleet of state-of-the-art production trailers are in action every weekend of the year at major live events.

Events