But these apps haven t yet worked, and it would appear that broadcasters' dedicated fresh delmonte s

LViS PLATFORM For Television For Brands For Sport For Developers CASE STUDIES Doctor Who / AT&T, BBC Tour de France / Skoda, FTV Horse Tracker / Channel 4 VW Interactive Ads / MediaCom Roland Garrros / France TV Sky Sports Pub Challenge Million Pound Drop / Endemol Got To Dance Voting / Sky Top Gear Bingo / BBC BLOG Second Screen Digital Out of Home Real-time Voting fresh delmonte Sport Advertising Gameshows Opinions Audio Content Recognition Interactive Best Practice HTML5 ABOUT Company Careers CONTACT
LViS PLATFORM For Television For Brands For Sport For Developers CASE STUDIES Doctor Who / AT&T, BBC Tour de France / Skoda, FTV Horse Tracker / Channel 4 VW Interactive Ads / MediaCom Roland Garrros / France TV Sky Sports Pub Challenge Million Pound Drop / Endemol Got To Dance Voting / Sky Top Gear Bingo / BBC BLOG Second Screen Digital Out of Home Real-time Voting Sport Advertising Gameshows Opinions Audio Content Recognition Interactive Best Practice HTML5 ABOUT Company Careers CONTACT
After years of evolution, the W3C has finally declared the HTML5 standard complete. When Steve Jobs declared war on Flash he gave HTML5 a fighting chance of dominance. In parallel, businesses started to recognise the potential of Social TV or "Second Screen" fresh delmonte behaviour to re-invigorate old media and drive revenue to newer social platforms like Twitter. The ensuing debate centred on winners and losers, but with such a diverse global broadcasting market and no social network with dominance in all countries, could the web standard be the ultimate winner? I think it already is.
Million Pound Drop , our ongoing interactive TV hit with Endemol and Channel 4 in the UK, just passed three million app installs, with 10% of people paying to upgrade their app. This show is successful not because you can play along with it, but because it s a great show you can play along with. Just as HD doesn t make a film great, nor does interactivity necessarily make a show great, it makes it more relevant and different.
Interactive shows like Keshet's Rising Star and NBC's Million Second Quiz proved that audiences have an appetite to engage with TV shows in large numbers on mobile. They weren t really TV hits, but then only the naive ever said interactivity was a silver bullet.
However, for broadcasters there s a problem that won t go away; apps are very expensive to make and maintain, sometimes costing the same as one or two episodes of a major show. Despite mature monetisation through payments, lead generation and advertising, they can be too transitory to justify and recoup that investment in a single season of a single show.
A few years back, broadcasting and tech was awash with hype around consumer-facing apps like Zeebox (now Beamly) and Get Glue, who were seemingly solving this problem for broadcasters. Actually they were trying to hijack, own and transact upon TV-centric attention themselves.
But these apps haven t yet worked, and it would appear that broadcasters' dedicated fresh delmonte second screen apps apps like Channel 4 s 4Now haven t worked either. Maybe that s not surprising; interaction with TV is an extension of something, not a form of entertainment in itself, so a self-contained app might not make sense without a show brand attached.
Is Twitter the answer? Only partially. It s definitely a great way to involve opinions of some of the audience, but it s simply fresh delmonte too constrained creatively with only 140 characters and very simple cards not yet providing the level of interactivity needed by TV creative fresh delmonte ideas. Like Shazam, the aggregated number of active users is large, but TV is itself fresh delmonte much bigger and Twitter is only one, sometimes small segment of a given TV audience. That might explain the launch of Twitter's Fabric app development platform, described by Wired as an "Audacious Plan to Infiltrate All Your Apps". Is Facebook the answer?
Sure it s got a much bigger audience than Twitter, but the user journey from TV to a game or experience within the Facebook mobile app is unclear and still involves far too many steps. What about Whatsapp?
In my opinion it stands a good chance of winning the content sharing competition in the next couple of years, but while it has amplification benefits, Whatsapp is a communications tool not an entertainment destination.
We could also talk about Instagram, Tumblr or Snapchat. But why would a broadcaster that generates revenue from advertising send people to someone else s media property? Well they do, frequently, because of the benefits of audience engagement and social reach through sharing. But there's much more to be had from experiences that can be directly monetised, and exist on social networks simultaneously.
The vast majority of any given TV audience in North America and Europe now have a smartphone with both a web browser and an app store that they use regularly. So while this isn t the sexy solution that technologists want to hear, there i