NATPE Voices: The Biggest Online Video Story of 2013

/ Jan 20, 2014

natpevoiceslogo2

As part of VideoInk’s media partnership with NATPE for the NATPE || Miami 2014 conference from January 27-29, we are rolling out a custom, panel-style Q&A series this week called “NATPE Voices.” We canvassed a broad collection of smart people on the NATPE board, or scheduled to speak during the conference next week, to get their thoughts on various aspects of the industry. We will publish their answers, for one question per day, through Sunday. Enjoy.

What was the biggest online video story of 2013, and what did it say about the emerging marketplace for made-for-web digital programming?

Michael Kassan, Chairman and CEO, MediaLink:

“The biggest story of last year misses the point. The most important thing in online video is the continuing secular trend of increasing budgets moving to online video. It embodies evolving consumer behavior, reflects the great work content creators like Machinima, Maker [Studios], CNE, and AwesomenessTV are doing, the programming prowess of Netflix, the power of the YouTube platform, the power of higher networks speeds…the list goes on and on. It’s not a story…it’s the story.”

Dan Goodman, Co-Founder, Believe Entertainment Group:

“That now IAB runs the Newfronts for digital video. I felt like this year [the event] turned a corner in terms of interest, attendance, and dialogue. I think it also underscores the convergence around TV and the interest in applying similar metrics to the digital space to spark growth. We need to push the Newfronts closer to a transactional process more akin to the TV world to drive further growth.”

Lori Schwartz, Managing Partner, StoryTech:

“The biggest ‘trend’ in online video for 2013 was the move by many MCNs and content creators to explore distribution opportunities outside of the YouTube ecosystem.

This was led by a number of big industry insiders, including some very high-profile YouTube stars, in an effort to lay some blows against the monopoly of YouTube’s network-building and distribution prowess. For example, Maker Studios bought Blip to expand its distribution capabilities and move beyond YouTube.

In a way, we also saw YouTube fight back, inserting new systems and regulations in place focusing on the relationship between networks and its creators. It’s a very interesting ping-pong game, and there’s no clear end in sight. But in my opinion, it’s always better to have more than one game in town.”

Jordan Levin, Defy Media:

“There is little doubt that the success experienced by Netflix with ‘House of Cards’ was seminal.  The resulting Emmy and WGA nominations (among others) reinforced the emerging sentiment that television is no longer defined by a media platform, but instead by a form of storytelling regardless of distribution mechanism or screen.”

Larry Tanz, CEO, Vuguru:

“I estimate that over $200 million was put into premium scripted originals on the SVOD platforms (‘House of Cards,’ ‘Orange is The New Black’) just over the past year. That’s a game changer, as well as their critical embrace by established content creators (e.g. Netflix’s multiple Emmy nominations, and subsequent win for David Fincher as Best Director). The distinction between a network and platform will continue to erode in 2014.”

Ezra Cooperstein, COO, Fullscreen:

“‘House of Cards’ and Awesomeness TV.

Both examples demonstrated that there was an appetite for premium original content outside of the traditional programming model. Most people understand the success story that is ‘House of Cards,’ but may overlook AwesomenessTV, which was a smart acquisition for DreamWorks Animation. DreamWorks is looking ahead and betting heavily on online video as a space where the studio wants to further develop a strong foothold. While AwesomenessTV is certainly creating great content today, its acquisition by DreamWorks Animation is truly an investment in future opportunities.”

Erin McPherson, Chief Content Officer, Maker Studios:

“The acquisition of AwesomenessTV by DreamWorks was a huge story in 2013, not only on its own merits, but also as a bellwether for the continued convergence of digital and traditional media programming. For anyone under 30, ‘made for web’ is the new mainstream. Great storytelling is no longer bound by the strictures of traditional length or customary release schedules. It’s a world that is both accessible and thrilling for creators of all kinds.”

Tags: , , , , , , , , , , ,


AwesomenessTV Logo Awesomeness

AwesomenessTV Targeting British Youth with ITV Deal

 
American Crime Story FX Netflix

Netflix Gets ‘Blame,’ ‘American Crime...

 
Verizon Yahoo

It’s Official: Verizon Buying Yahoo for $4.83B in Cash

 
Tiesto

Summer Music Festivals and Branded Content

 
Industry Tickets Selling Fast!
Click above to lock in your registration for VidCon 2015!
 
Al Roker

Roker Media Partners with HooplaHa on Live Streaming Originals Slate

 
Campus Insiders Twitter

Twitter to Live Stream 300 College Sporting Events via Campus...

 
Comic-Con Logo

Circa Teams with Defy Media’s Clevver for Comic-Con Coverage

 
International Drone Racing Association ESPN

Drone Racing Gets Dedicated Streaming Channel Drone TV

 
DavidLoker_VideoInk_300x250

Amazon and Netflix Alum David Loker Heads to Ayzenberg

 
AndrewGraham_VideoInk_300x250

CAA Grabs Andrew Graham from Big Frame; Retains Clients as Agent Rep

 
Machinima Logo

Machinima Takes China with Sohu Partnership

 
Periscope is Twitter's live-streaming video app

Periscope Adding New Watch and Discovery Features

 
Transformers Combiner Wars Machinima

Machinima Reveals Voice Cast & Trailer for...

 
AmazonBox

Amazon Unveils 2016 Comedy Pilot Season

 
Ana Kasparian The Young Turks

The Young Turks’ Ana Kasparian Talks Puke, Vitriol &...

 
Algorhythm New Form Digital Above Average Craig Benzine WheezyWaiter

What Above Average Plans to Do with $15M in Funding from Turner...

 
Adam Sandler Ridiculous Six Netflix

Adam Sandler Teams with Oscar-Winner Jennifer Hudson for Netflix...

 
VideoAd_1

Video Is Not The Answer (But Great Video Might Be)

 
Twitter

Twitter and NBA Partner on Two New TV-Style Shows

 
BuzzFeed Tasty

BuzzFeed’s ‘Tasty’ Stays Atop Cross-Platform...

 
Reelio Logo

Reelio Greenlight Serves Up Brand-Ready Influencer Project Database

 
Kalel Kin Community

Kin Community Coming to Australia

 
Internet Creators Guild

Is Hank Green’s Internet Creators Guild a Fair Deal?

 
Netflix_new

Netflix Disappoints with 1.68M Net Subscriber Adds in Q2 2016

 
Star Trek Logo

New ‘Star Trek’ Series Going Boldly with Netflix...

 
Pokemon Go

The Week In Branded Content

 
Popsugar

Popsugar Partners with ABC for Political Convention Coverage

 
Moms With Attitude Awestruck

Awestruck Bringing the World More ‘Snooki and JWOWW: Moms...

 
SUPER_HIGH_SCORE_STONED_POKEMON_Merry Jane

Merry Jane Throws Stoned Pokemon Party on ‘Super High...

 
Emmys

Netflix Grabs 54 Emmy Nominations, Amazon Scores 16

 
Emmys_VideoInk_300x250

FULL LIST: Inaugural Short Form Emmy Nominees

 
Catastrophe Amazon

Amazon Invites ‘Catastrophe’ for 2 More Seasons

 
VidCon 2016 2

5 Things I Learned at VidCon 2016

 
Boondoggle ABC Ty Burrell

ABC Revamps Streaming Service with 7 Original Short-Form Series...

 
BitTorrent News

BitTorrent News to Debut with Republican Convention Coverage

 
YouTube Money

YouTube Touts Anti-Piracy Efforts as Per-Stream Payments to...

 
Outstream Video Sublime Skinz

Why Outstream Video is Going to Drive the Video Market

 
Netflix acquires three new indie flicks

Netflix Price Increases Won’t Scare Away Many Subscribers,...

 
Sickhouse Idigenous Media

Indigenous Media Returns to ‘Sickhouse’ for Sequel

 
Uninterrupted

LeBron James’ Uninterrupted Adds Gotham Chopra as...