10 Reasons No One Watches Your Brand’s Videos

Business Man Game of Thrones Meme

Content-loving customers had better take note, because you just leap-frogged blogging and slide deck-styling all the way making a video for your brand. “Video? Isn’t that the future of marketing and like 60% of all internet traffic?” You’re damn right it is, and now your content marketing prowess is on full display to all your customers and social media followers, not to mention a billion monthly YouTube users. WIN. That’s right internet – we’re uploaded, we’re discoverable and we’re in the game with a titanic 88 views in week one. And people, 88 views is just the beginning, because by week two we’ll be making waves with triple digit viewership, am I right?

It saddens me to say that in ZoomTilt’s line of work, I seem to have this exact same conversation on a weekly basis:

Brand: We want a viral video. None of our videos are getting good viewership and we’re spending a lot of time and money on them.

Me: Well, what kind of videos are you making right now?

Brand: Pretty much all documentary-style testimonial interviews and really slick, artsy, color-corrected videos of beautiful, waif-ish people walking down dim hallways showcasing our product.

Me: Would you consider experimenting and cross-testing different types of video creative? Maybe something more relevant to your target demo that’s funny, or edgy, or surprising? Perhaps with memorable, strongly-defined characters? We can define success metrics and perform deep data-gathering and predictive A/B testing on each one.

Brand: Oh no, no, no. We could never do that. Characters? We’re not GEICO, we don’t have a Gecko… the brand IS the personality. Besides, we can’t be a funny brand or an edgy brand, we’re an elegant, sophisticated, reliable, precision-engineered brand whose experience must translate like a haiku told upon the shore of a placid lake. So what can we do like that that’s going to go pretty viral..?

Stop. Video marketers, 95% of you need to re-think your approach right now, because that one competitor who gets it is smoking your PR and inbound marketing efforts. So let’s cut the small talk and get you started with our field-guide of key video marketing pitfalls to avoid. If you’re making videos for your brand and no one is watching them, here are the ten (10) reasons why:

1. You don’t really know your audience. Knowing who your audience is (say age 35+ working mothers) isn’t the same as knowing their media consumption habits and what content resonates with them – you need to understand both.

Let’s start with a typical customer video from a mainstream, mom-oriented consumer brand:

Ok, darling and highly likable Mom? Check. Solid brand that knows how to do fun video creative? Check (*ahem* Old Spice Guy *ahem*). Video that will inspire anyone to share your message or watch more? Complete miss. Don’t get us wrong, there are great opportunities out there in user-generated content, but why would a mom watch dozens of nearly identical informational testimonials for the same product? And why does Pampers, a globally-recognized diaper brand, feel the need to flood its YouTube channel and crowd out its more premium content with so many different iterations of the same bland, product credibility-builder video that doesn’t create informational or emotional value for their customers? Why would a diaper-buyer watch multiple minutes of this type of video content rather than simply executing a 15 second Google search to quickly skim a credible blog review on the same product? Your customers’ time, convenience and content consumption autonomy are highly relevant to your digital content strategy – respect them.

Now let’s take a look at some of their professional creative:

Strong start here too – who doesn’t love cute, happy babies with bed-head? But ouch, only 6 likes and 3 dislike? What gives?

Well, to summarize the entire campaign message: “if your baby pees or poops itself and doesn’t get changed, it won’t be happy (or have great, disheveled hair) like these happy babies.” What’s new, insightful or interesting about that message, one that more or less restates the same biological principle mothers have known for decades, if not centuries? Sorry Pampers, we already know your diapers are probably a little bit better (and a little bit more expensive) than some of the other brands sitting next to you on the shelf, your single layer of additional protection isn’t boosting brand lift or getting anyone to retweet this.

Want to know who gets motherhood? Fiat gets motherhood:



2. Your content doesn’t create value.

A lot of marketers think successful branded video content needs to have professional, $10,000-per-minute-and-up production quality. It doesn’t. Nor does it even necessarily have to be funny or shocking, although that usually helps. But one thing your content MUST accomplish is value creation for the viewer, which can be either informational value, emotional value or both, like these:



3. Your content generates a low-valence emotional response.

72 hours of video are uploaded to YouTube every minute, so if you make something average it will get skipped and ignored. If you create something on the far end of the spectrum that generates high viewer emotional arousal, audiences will engage with and share your video.

Right (creative) way to make a marketing video for your pizza business:

Wrong (traditional, uncreative) way to make a marketing video for your pizza business:


4. Your video content doesn’t have hooks early and often.

Again, when you create content, your content is competing for attention against an ocean of entertaining video, great music and informative blog articles. You don’t need to perform an epic jump from space like RedBull, but be sure to hook viewers’ attention early and often to avoid drop-off and defection to other content. Nice job Pepsi:


5. Your content has no story arc.

Both of these videos feature heavy men’s business apparel product placements. Which do you think had the better digital campaign return on investment (ROI) and repeat viewer engagement because viewers wanted to know what happens next?

Story:

No story:


6. No one found your great video.

Unfortunately, successful video content marketing isn’t just creating great content, then putting it up on your YouTube page, blog and facebook feed and moving on to the next thing. Videos live and die by discovery, and you need to get a broad audience (and, for that matter, the right audience) looking at your work. I wrote a pretty comprehensive introductory explainer to getting more views on your video here on Quora. Check it out and feel free to leave comments or feedback if it was helpful or you disagree with any of my core points. Whatever you do, don’t make the same mistakes as Cybergeddon.

7. You didn’t test your video(s).

Traditional video content marketing – particularly branded entertainment – can be high-reward, but also moderate risk. Even with significant investment in seeding and paid media, big branded content efforts can crash and burn because the creators missed their audience or couldn’t quite pull it together on execution. At ZoomTilt, our branded entertainment media buying process is closely-integrated with video A/B-testing, so that not only do advertisers get to compare multiple creative variations based on the same brief or campaign objective, but they can also make data-driven predictions about targeted audience engagement and content virality prior to committing their full production spend. Test your videos, don’t just pull the trigger on a $300,000 media buy because your 24 year old intern down the hall who wears skinny jeans thinks they’re epic.

8. You’re not amplifying or complementing the conversation.

During prime time, up to 60% of the conversation happening on Twitter can be related to TV. Yes, successful TV shows can create global hashtags in real time. While digital isn’t at that scale and more fragmented, it’s also not as ephemeral here-and-gone as a TV ad, and that’s a big opportunity for marketers to capitalize on. Create companion content, connect your videos to product promotions or product launches, integrate hashtags and then measure it all. Entertaining storytelling is a huge catalyst for social media activity and engagement, so don’t silo your videos from your overall social media marketing efforts.

9. You’re missing the long tail.

Just like search engine optimization (SEO), strategically targeting the long tail (and long tail keywords in your video title, text description and metadata) can pay off big, particularly when your video has little relevant competition but really strikes a chord with a spirited niche. Get it right, and next thing you know your content gets picked up on Mashable and your sales go through the roof. Just ask the OraBrush guys:


10. You’re the 1,000th brand to hop on a content-competitive trend.

Don’t go head-to-head on replica content with Fortune 500 marketing giants (unless you yourself are a Fortune 500 marketing giant) if you can’t bring something really new, fresh and novel to the table:

This wins (#JeffGordonisonFire):

This doesn’t (#sorryHubspot):


The difference a little creativity and the scale of your audience reach [a solid celebrity cameo that doesn't bust your budget usually doesn't hurt either] collectively make on the success of your content cannot be understated.

Now let’s go out there and make successful branded videos people love.

Video and Death by Demographics: SXSW

This year’s SXSWi was again amazing, despite the long lines and the lack of sleep that pervade everything. I was particularly inspired by a session I attended on Monday Morning called “Death by Demographics: Killing Off Your Ad Budgets” with Ann Zimmerman from WSJ, Joe Magnacca from Radio Shack, Todd Morris from Catalina, and Bonin Bough from Mondelez (Oreo). Bonin was the highlight of the session, making jokes that had the whole audience in stitches. But as someone immersed in the branded video realm, I couldn’t help but feel that there was a final conclusion about video that the panel didn’t get to.

The brilliant theory that was the focus of the session was the idea that demographics — the bedrock of advertisers for decades — don’t work that well anymore. A thirty-eight year old female might be a small business owner and a twenty-five year old male might be a stay-at-home dad depending on their background. Bonin called it “culture vs cluster”, explaining that the culture of the person you are marketing to is far more important than their age, gender, and other demographics.

Brand advertisers have much better data at their fingertips nowadays than they did in the heyday of demographics. Consumer chatter on social media, purchase history, and other trackable metrics can shed much better light on what individual consumers want. The job of the marketer is to use that information to create a relationship with the consumer, to create content that is relevant to the consumer.

The panel did talk about video media, and their take on it was that traditional television advertising was a necessary evil. TV ads aim at demographics, you can’t track them, you have no idea if people skipped or ignored your ad, but when you combine television advertising with more targeted marketing you can increase the overall ROI across those platforms.

The panel also talked about how well video fits the culture model. Video is inherently cultural — more cultural than any other form of marketing. And yet they are still relying on demographics in video. Why? Because that’s all they think they can get with broadcast television.

Online video provides brands the opportunity to specifically target the culture of the people who buy their product. And by the very nature of entertainment, those people are ten times more likely to share entertaining videos with other people in their culture than any other piece of marketing material. Clearly, the next step for brands that are marketing by culture instead of demographic is to use video the same way.

Some brands have already done an excellent job of creating video content that marries their brand with an emotional, cultural message that viewers flock to: BMW’s The Hire series, Degree’s The Rookie, Kmart’s First Day, Intel’s The Beauty Inside, and my favorite, Hell Pizza’s Deliver Me to Hell. I’m looking forward to the next great video stories coming, not from Hollywood, but from my soon-to-be-favorite brand.

New Web Series Episode: Why You Never Set Your Friend Up on a Blind Date in Boston

A new episode from Boston comedy dating web series “617: The Series”

The Medium is the Message for Web Series

The first advertiser-supported web series was Scott Zakarin’s The Spot, way back in 1995. The fictional Real World-style show took full advantage of the Internet’s ability to draw in viewers on several platforms. The characters blogged before there were blogs, posted photos and videos, and e-mailed with viewers, who would discuss the show and give feedback on thespot.com.

With ZoomTilt heading to SXSW as one of eight Entertainment tech startups, it’s clear that the world of web entertainment is expanding. So much so, that most web series sink in the sea of series. How can viewers like you find content like ours?

Sure, there are The Streamys, The Webbys, and all kinds of Fests; but how do we find the shows of our dreams? With the Internet comes a wide array of niche audiences. Web series must break away from the streamlined Hollywood plots of preexisting TV shows by getting creative and getting weird. The key is to do what you can’t do on TV, by avoiding overdone plots and also taking advantage of the world that entertainment now lives in. Whether people are watching it from a mobile device, their computer, or their plain old tube, a web series will succeed when it is coupled with strong viewer engagement by offering “extras.”

This is a huge part of what makes web entertainment so enticing – the immediacy and interactivity of it all. People want it how they want it, when they want it. What if you didn’t have to wait and tune in next week ever again? Netflix has decided to see what happens when they release their own entire web series at once. This may work for Netflix, but for most independent filmmakers and small production companies, maintaining an engaged audience over time and spreading a series to several different social networking sites is crucial to the success of a new show.

It’s one thing when companies like Netflix and Intel launch online TV, but the bulk of web series are being created on a tight budget. Despite the cheap and quick nature of the Internet, a web series will only take off with an original and well-developed story line. Getting original ideas in motion is necessary. ZoomTilt reaches into the pool of independent filmmakers to produce fresh content for brands. Another collaborative website, The Republic, hosts the Reddit Comedy Project, allowing the audience to crowdsource the premises and rank the pitches.

RedditComedy

In the words of media mogul Marshall McLuhan, “the medium is the message.” Sure, you can take a TV show and distribute it on the Internet, or take a web series and slap it on the television; but the success of web series today relies on originality, quality, and maximizing the interactivity of the Internet.

All Five Web Series Finalists Now Live

Overcoming hurricanes, floods, location cancels, equipment malfunctions and more (although, admittedly, some projects did a better job of overcoming than others), all five TV Reset Project web series finalists’ pilots have now arrived on ZoomTilt TV.

The five finalist pilot episodes are presented below in alphabetical order. Remember, all five shows are competing in our first web TV competition, so go check them all out and, most importantly, share the shows you like with your friends and social media followers. Your share is your vote!
 

“Cool Justice” by Todd Rulapaugh and Brian Groh


 

“Not So Super” by Christophor Rick


 

“The Pickup Chicks” by Stacie Capone and Small Media Extra Large


 

“Shining City” by Douglas Stark


 

“Spycology” by Tenth Gate Productions


 

Thanks again to all of our entrants, semi-finalists and finalists for all their hard work and dedication through the entire competition. Now everybody go view, vote and share!

The First Google+ Community for Web Series Creators

With the new unveiling of Google+ communities, Google is bolstering community connectivity within its social media platform. While, for most, Google+ remains sparsely populated with active, engaged users, there’s one key reason why filmmakers and video creators (particularly anyone with a vested interest in the YouTube ecosystem) should care about Google+ Communities: The six letters that come before the “plus.” That’s right, Google effectively owns both search and YouTube, so content creators interested in elevated search discovery around their work should definitely consider spending a little more time trying to stir up activity around their content on Google+.

Google+Meme

In a small step forward to help members of the currently fragmented creator community network more effectively and bring more search engine optimization (SEO) authority to their content, we’ve created the first Google+ community for web series creators, and we invite everyone to join the community today. Together, we can create a small hive of budding creative activity amidst the larger, less-traveled Google+ landscape.

New ZoomTilt Web TV Pilots Showcase the Rising Quality and Influence of Webseries

Web series aren’t just a guy/gal with a camera, a couch and a vlog talk show anymore, and audiences and advertisers are taking notice.  With brands like Ford, Ikea, Target, Yahoo and Intel spending millions annually creating original web entertainment on top of YouTube’s own premium content buys from Hollywood and networks like Machinima, demand for compelling, original entertainment is rising rapidly, and content creators are rising to the occasion.

This week, ZoomTilt debuts three new made-for-web TV comedy pilots: “The Pickup Chicks”“Spycology”, and “Cool Justice”.  Although the three comedies are starkly different shows – with backdrops ranging from Brooklyn bars to a top-secret Spy Academy to a 1970′s L.A. drug bust – they all have several qualities in common: memorable, unique characters, top-quality professional cinematography and studio-caliber story arc development.  Following on the tradition established by recent web series standouts like “The Beauty Inside,” Warner Premiere’s “H+: The Digital Series” and “Dating Rules for My Future Self,” ZoomTilt’s first three shows coming out of the TV Reset Project webseries competition demonstrate that creative, compelling storytelling and community-building trumps big budgets in generating earned media and audience engagement.

The first new ZoomTilt pilot is romantic comedy “The Pickup Chicks” by Stacie Capone, which follows a trio of Brooklyn roomates-turned-entrepreneurs dealing with the unexpected success of their dating service for hopeless single guys:

The second show is “Cool Justice” by Todd Rulapaugh and Brian Groh, who play two larger-than-life 1970′s cops transported to modern day Los Angeles to help a beautiful heiress recover her missing inheritance:

The third show is “Spycology” by Tenth Gate Productions, where slacker spy Jack gets jolted by the threat of expulsion from Spy College and the arrival of an enigmatic new female transfer student.  Can Jack harness his inner Bond before time runs out on his diploma hopes or his best buddy Tim’s hostage situation?

As both production equipment and video hosting costs continue to drop, knowledge transfer of production and editing expertise is accelerated through lightning fast internet data transfer and digital video demand continues to grow rapidly, traditional TV and “digital TV” will continue to converge and overlap, creating exciting new opportunities and avenues for content creators, advertisers, audiences and digital networks alike.

Filmmaker Highlight: Bridget Stokes

Writer, director, producer and screenwriting adjunct professor Bridget Stokes has been working towards being a filmmaker since her freshman year of college at Brown.  She began her career in film distribution at IFC Films, where she says she learned a lot about what not to do when filmmaking.

Photo: Connecticut Post

Stokes began her career in film distribution where she met her current business partner Vicky Wight. Stokes and Wight began making films and after producing two shorts together, they agreed that one of them would finally finish a script for a feature. They produced their first feature that Bridget wrote in 2010. “It was a great learning process, raising money, making a feature, and making sacrifices.” The team continues to work on scripts and even a novel. With 5-7 viable projects on their plate at any given time, they are enthusiastic about seeing each one through to completion.

“I’m madly in love with movies. I have to make the movies I want to watch.” Stokes builds relationships with other filmmakers and remains open to working on producing their work as well. “We want to help people tell stories that we believe in, not just our own.”

Stokes wrote and directed the feature film, Herman & Shelly, which she produced with her business partner Vicky Wight with Instant Pictures. The two have also produced short films including Coffee, an official selection at 2008’s SXSW Film Festival. Bridget most recently produced the feature film, The Volunteer, written, directed and produced by Wight. In the film, after quitting her stable but soul-crushing job, Leigh fills the void by volunteering at a soup kitchen. Her world is turned upside down as she becomes involved with a homeless man. Starring Aunjanue Ellis, Ebon Moss-Bachrach, Hill Harper and Scott Wolf.

TV Reset Project Web Series Finalists Race to the Finish

With the Thanksgiving holiday almost upon us, the filmmaker finalists in ZoomTilt’s first TV Reset Project web series competition are racing to complete final edits on their pilots.  With some submissions already in and some completing the final phases of post-production, ZoomTilt is looking forward to an exciting and diverse set of new web TV releases.

Series creators Brian Groh and Todd Rulapaugh play two larger-than-life 1970′s cops transported to modern-day Los Angeles in new comedy “Cool Justice”

ZoomTilt’s Amy DePaola recently sat down with one of the TV Reset Project’s finalist production teams – James Poirier and Travis Tyler of Boston’s Tenth Gate productions – about the inspiration and excitement around their show, action-comedy “Spycology,” a story about a group of students attending a top secret Spy Academy: