Open up your mind and say, ahh...

Earlier this year, Ryan Seacrest partnered with Ford for its “Random Acts of Fusion Campaign,” a transmedia effort to promote the 2013 Ford Fusion. Now with the recent acquisition of New York-based marketing services agency Civic Entertainment Group (CEG) through his company Seacrest Global Group (SGG), the multi-hyphenate magnate aims to connect brands with Hollywood and perhaps create original branded content.

Dick Clark & Ryan Seacrest

Like the late Dick Clark, whose career he makes no secret of emulating, Seacrest is an entertainer who wears many hats–American Idol host; NBC News’ Today show correspondent; and, of course, host of Dick Clark’s New Year’s Rockin’ Eve, which he also executive produces. Through Ryan Seacrest Productions, Seacrest produces Keeping Up with the Kardashians as well as its various spin-offs, and other reality series, such as Bravo’s Shahs of Sunset and E!’s Married to Jonas.

Seacrest also has several projects at various stages of development, including Food Fight with Paramount Pictures, a TV version of the book Nanny Diaries, and a game show based on the popular Zynga game Draw Something.

When the television and radio personality initially approached CEG, the company’s co-founders/CEOs Stuart Ruderfer and David Cohn were “immediately intrigued,” according to Ruderfer. “Ryan has this unique vision for building the new model, the next generation media and entertainment brand business,” says Ruderfer. “What it means for us is we can have a combination of Hollywood access with first-class marketing services.”

For his part, Seacrest says he was attracted to CEG because of its “consistent track record of business success.” Specifically, CEG was responsible for overseeing the marketing campaign for the launch of HBO’s Boardwalk Empire, including a series of 1920s-era events, as well as other creative marketing services for brands such as A&E, CNN, ESPN, History, NFL, and Southwest Airlines. The 12-year-old company specializes in experiential marketing campaigns that blur the line between marketing and entertainment.

“For History, the cable channel, we had the world’s largest smoker and grill cooking 2,000 hot dogs around the country,” Ruderfer says, as an example of one of their experiential marketing campaigns. “The idea was to help History reach out to its audience and provide a live experience with the brand that hopefully adds to their viewing experience.”

The company has also created restaurant spaces for CNN, the CNN Grill, and a bar and lounge, the Southwest Porch, for Southwest Airlines.

Although Ruderfer and Cohn will continue to head up the day-to-day operations at CEG, Ruderfer said they would rely on Seacrest’s “advice and counsel and access to resources.”

Since both SGG and CEG have expertise in live events, there will likely be an increased focus on them going forward.

“Live events are exciting television, and they repeatedly draw big audiences year-after-year,” says Seacrest. “My production company is interested in stepping up its capabilities in this aspect of the business, which I think is also an area that Civic could potentially be involved with given their expertise with marketing large-scale events.”

Entertainment and marketing will continue to converge, according to Seacrest, and creating entertaining content is key. “There is so much noise in the marketplace for both content creators and marketers that it increasingly makes sense for these two disciplines to dovetail in interesting ways,” says Seacrest.

Crowd Image: Flickr user Haags Uitburo

The future of TV is much more than social, it’s a multi-screen experience that takes design. Often, producers, broadcast and movie marketers and brands alike underestimate the role social media plays as consumers watch, share, and interact. Whether its watching movies, TV shows or listening to music, consumers will have at least one-to-two other devices in grasp or within reach. Depending on the device, each screen is used differently and with purpose. As a result, each screen requires the thoughtful development of an engaging or entertaining experience.

This is a topic that I have and will continue to explore. I believe the entertainment industry is uniquely positioned to introduce a connected, cross-platform experience layer that captivates and grows audiences while creating new opportunities for monetization.

In addition to sharing my thoughts, I will also feature the work of others who are experimenting beyond what we think we know to learn and share just what’s possible. I invited Gayle Weiswasser VP, Social Media Discovery Communications, to stop by for an in-depth interview. Here, she shares how her team is building a new infrastructure to unite programming, audiences, and talent to change how Discovery creates, markets, and supports new experiences.

What is the prevailing mission and purpose for Discovery’s social media strategy?

At Discovery, social media represents an individual, intimate touchpoint with our audiences. Our social accounts allow us to interact with fans in a manner that was previously impossible for large broadcasters: two-way, real-time conversation around our programming and talent. Our mission is to augment our fans’ experience with our networks through relevant content, access to talent, exclusives and other interactions that celebrate our fans and shine a spotlight on their passions.

We use social media primarily for four purposes: 1) engaging with fans and encouraging that two-way conversation; 2) driving tune-in to our programming; 3) driving traffic to our owned-and-operated fansites; and 4) gathering insights about fan preferences and reactions that we can share internally with our network marketing, communications and production partners.

What is the current size of the communities you manage and what has overall growth and size of your social media footprint evolved?

As of April 2012, we have 59 million likes across approximately 75 active Facebook pages; on Twitter, we have 3.5 million followers across 21 accounts. Our Facebook footprint grows by about two million likes a month, and in 2011, our fan counts on both platforms doubled. That growth has come almost entirely organically, with very few targeted spends or buys aimed at building our social audience.

How does strategy come to life in the organization?

Social media strategy is developed by a centralized team that works in lockstep with our communications, marketing, digital media and many other teams. It is truly a joint, multi-disciplinary effort. Our social media team works hard to ensure that each of our plans is executed in line with the other teams’ strategies, and we engage in early cross-functional brainstorming and strategy meetings to ensure that we are maximizing the potential of social media to support network initiatives.

On average how many social media presences does Discovery host at any one time?

We currently have 75 active Facebook pages and 21 Twitter accounts (U.S. network and show-related), and also have several network Pinterest accounts. We’ve also done some experimentation on Tumblr and Google+, and work with several social TV players, like GetGlue, Miso and Viggle.

How do you distribute presences, for example, which shows get Facebook pages vs. Google + vs. Twitter vs. YouTube, etc.

For now, we’re focusing on where our largest and most engaged audiences are: Facebook, Twitter and Pinterest. Every network has a Facebook and Twitter account, and most of our popular programs have their own Facebook pages as well. We have a set of factors that we balance before launching a new social media account – everything from whether the show has been greenlit for more than one season to how much related content we will have to share with fans year-round. Given our large social footprint, we are often able to support new series through network pages and cross promotion, which may give way to a new Facebook page as the audience builds.

What are some of the prime metrics that you use to define success?

Engagement metrics are the ones we focus on the most: are people reacting to, and being inspired by, our content? Are they liking, commenting, clicking, and sharing? Those are the numbers we’re most focused on, as they tell us whether we’re doing a good job of building that important relationship with our audiences. The footprint number is meaningless if we’re not actually connecting with those fans.

Are you using social media to drive tune-in and what are your observations on what’s possible here?

Yes, that’s one of our main goals for social media. We have a lot of anecdotal evidence that our social media activity – particularly real-time activity around premieres – drives buzz and, in turn, increases the likelihood that existing and new viewers will tune in. And, of course, we follow the social TV studies that have been published lately, such as Nielsen’s conclusion that pre-show social activity drives ratings increases and TVGuide.com’s report that people are watching more live TV to avoid spoilers. We think that there is a world of possibility here – with at least 40-45% of people using smart devices/laptops while they are watching TV. This year, we will be doing more with live, on-air streaming of social integrations, which we expect will only strengthen the social media-tune-in connection.

How have you organized around social media to manage an extensive and engaged network?

We have a centralized social media team that acts as an in-house social media agency, with the networks as our clients. Within the team, we have members dedicated to each network, and they attend all of the network meetings that touch social media (marketing/communications/digital/production) so that they are entirely engaged in all of the network plans. The centralized structure allows the team to share best practices, do cross-network promotions, test emerging platforms, and develop social media guidelines that extend across networks.

Any special practices for internal coordination?
– Social CMS?
– Style Guide?
– Best practices?
– Training?

These types of practices are done within our centralized team, which is another benefit to the structure. We have a social media style guide, and we meet three times a week as a team to brainstorm and develop best practices.

How do you decide when it’s time to retire an account?

We retire accounts when we no longer have regular, relevant content to share with their audiences. This may happen when a show finishes its run, although we have several active social communities that are still going strong even though the shows they were built around are no longer in premieres. If we can’t provide the community with good content, then we will shut down the account, after ensuring that fans have notice and the opportunity to join similar social communities we manage, if available.

Any final advice, tips, or cautionary tales to leave us with as we put your experiences into action?

Don’t underfund or understaff your social media teams – the purpose they serve is too important to give it short shrift. And be sure that your team isn’t silo-ed. The key to an effective social media strategy is integrating social across your business by keeping the lines of communication open.

Via Brian Solis: http://www.briansolis.com

Social media is more than a digital water cooler for TV and movies. The global conversation that takes place around events and the experiences people share based on what they watch teaches us about consumer preferences. More importantly, their activity influences behavior. Behavior counts for everything. Studying it is just the beginning of course. In order to understand and eventually steer behavior, we must translate activity into insights and in turn, translate insights into actionable strategies and programs.

The Hollywood Reporter recently published an exclusive poll about social media led by market research firm Penn Schoen Berland. As the report opens, THR notes, “There’s a sea change afoot in how Americans discover and consume entertainment.”

According to the study, 88% of respondents view social networking sites like Twitter and Facebook as a new form of entertainment.

Hours Spent Each Week Doing Online Activities

Social networking and listening to music top the activities for Generation-C and each is greater than the time spent watching full-length movies or television shows on a weekly basis.

- 8 Hours: Visiting social networking sites.
- 8 Hours: Listening to music
- 7 Hours: Watching full-length television shows.
- 4 Hours: Watching full-length movies.
- 4 Hours: Watching video clips (e.g. YouTube)
- 4 Hours: Instant messaging

How Social Networking Impacts Entertainment Choices

The report found that 79% of connected television viewers visit Facebook while watching TV.

Pollster Jon Penn notes, “Social media is the connective tissue that enables consumers to multitask during their entertainment experiences by connecting with others and sharing their opinions.”

Additionally, 83% surf the web while viewing TV and 41% tweet about the show they’re watching.

When we look at the psychology of engagement, this next stat becomes a bit more revealing. Of those who post about TV shows, 76% do so live and 51% do so to feel connected to others who might also be watching.

Comedies, Reality TV Put Social in Social Media

Social networking is in its own right a reality show made for the web. It is its own form of entertainment. And, as the study found, an overwhelming majority of people agree. When we look at the types of programs viewers are most likely to post about while watching TV, Comedy, Reality TV, Sports and News take the top four spots.

Types of shows people are most likely to post about while watching TV:
56%: Comedy
46%: Reality TV
38%: Sports
26%: Cable News

Social Media on the Silver Screen

Digital Influence is often misunderstood, but it is potent. Influence is causing effect or changing behavior. Here, we can see that those who Tweet about movies actually influence the behavior of those who follow them.

One out of three connected consumers saw a movie in a theater because of something they read on a social network.

The report found that horror and other younger-skewing film genres benefit most from social networking. For example, more than 6% of respondents saw Paranormal Activity 3 because of social networking activity. One can assume based on psychological studies, that this form of social commerce is driven by either #FOMO (fear of missing out) or social proof.

Social Networking in Theaters…Really?

Prior to watching any movie in theaters nowadays, viewers must sit through a short spot that reminds them not to use their phones during the theater. Aside from the ringing adding unnecessary distractions to other theatergoers, the bright white screen is also disruptive as it tends to light up an otherwise dark room.

However, social networking is not limited to at-home movie watching. 55% of moviegoers have texted during a movie. Film moguls and theater owners should take note: The poll also found that an overwhelming majority of 18-to-34-year-olds believe using social networks such as Facebook and Twitter while watching a movie in a theater would actually add to their experience. Nearly half would be interested in going to theaters that allowed texting and web surfing.

Penn added, “Millennials want their public moviegoing experience to replicate their own private media experiences.”

The same can’t be said for all consumers though as 75% of respondents said that using a mobile phone would take away from the experience.

Additionally 24% and 21% have posted about what they’re watching in theaters on Facebook and Twitter respectively.

Social Media Multitasking ≠ Distraction

Gen-C is often falsely diagnosed with a thin attention span. Yet in reality, Gen-C focuses on all that’s important to them many times at the same time. They’re just wired differently and rather than challenge it or try to debunk its value, our energy should instead focus on understanding how multitasking adds to the experience.

When asked what other activities are performed while social networking, watching programs on TV was by far the most popular at 66% followed by watching movies on TV at 50%. Interestingly, 11% stated that they watch a movie in a theater while networking.

So, what are viewers saying while multitasking between networking and watching TV. It’s a bit of give and take as 67% will listen to or read what others have to say and 33% will most likely express their own opinions or thoughts.

Social Media Impact on TV Viewing Choices

How can social media drive tune-in? That’s often one of the top questions on the mind of TV marketers. As of now, serendipity certainly plays a role in contributing to tune-in. Three out of 10 people watched a TV show because of something they read or saw on a social network.

Social Media Spawns a New Genre of Critics

In the age of social media, viewers have become participants in real-time experiences. And many, are also becoming critics simply what they say and share online. Social network activity certainly influences behavior, but to what extent requires greater study.

The study found that 72% of respondents post about movies on social networks after watching a film. We can assume that those expressions are rooted in opinion and we can also hypothesis that these shared opinions in some way affect the impression of those who see them. At the same time, 20% post before and 8% post during a viewing.

This Just In…

News no longer breaks, it Tweets. Those who run social activity streams all day will tell you that they learn about news on Twitter first which then drives them to a online or broadcast news source to learn more. But, 31% and 28% of respondents reported that their main source for breaking news is cable news stations news web sites respectively.

I wonder about that data point however as it’s not clear if it is the primary source or the main source. The fact that the study found that social networks make up 19% of their breaking news source provides some clarity, but I still question the source of the flashpoint.

Social Media is Music to My Ears

It’s not just TV shows or movies that benefit from social media. All forms of entertainment lend to peer-to-peer behavioral influence. THR found that musicians also benefit from social media with 70% of respondents listening to music by an artist based on what a friend posted on a social networking site.

For those who saw or read about my interview with Billy Corgan of The Smashing Pumpkins at SXSW, certainly heard how he believes fans must step up their support for the artists that they love. And, sharing what you’re listening to is certainly one way to contribute, whether it’s through frictionless sharing apps such as Spotify or stated support by Tweeting, Facebooking or blogging support.

Social Media Tests Positive for Influence

Based on the work of Robert Cialdini, I analyzed six universal heuristics and the role they play in consumer decision making in social commerce. Referred to as “thinslicing,” consumers tend to ignore most information available and instead ‘slice off’ a few relevant information or behavioral cues that are often social to make intuitive decisions.

The THR study surfaced that more than half of respondents (56%) believe that social networks play an important role in making entertainment-related decisions. Across every genre of entertainment, respondents felt that positive posts held greater influence over their decisions than those that are negative.

Specifically, 82% are influenced in the music they listen to; 76% in the TV shows they watch; 75% in the movies they choose to see; and 74% in the video games they play.

Facebook vs. Twitter

I often refer to Twitter, Facebook and activity stream apps as new attention dashboards. THR asked respondents which networks they used and how. The answers help in how we better understand what’s of interest to consumers.

Of all respondents, 98% are Facbook and 56% are Twitter members. In terms of daily visits, 9 out of 10 visit Facebook and 1 of 2 visit Twitter every day.

When asked about who and what they follow, participants shared the following…

Companies/Brands:
Facebook = 49%
Twitter = 37%

TV Shows:
Facebook = 49%
Twitter = 30%

Movies
Facebook = 43%
Twitter = 25%

Actors/Actresses
Facebook = 32%
Twitter = 41%

Reality TV Stars
Facebook = 16%
Twitter = 23%

Journalists/Reports
Facebook = 9%
Twitter = 15%

I find it interesting that consumers connect more with brands, movies, or shows on Facebook whereas Twitter is the preferred choice for connecting with people. Marketers should take note in how people form fandoms and communities, where and how.

The State of Movie Marketing

Considering the behavior of Gen-C as well as all other consumers, marketers can’t rule out any form of promotion or engagement without understanding the balance and how each contribute to consumerism.

The study found that even through social networking is playing a significant role in movie watching and shared experiences, traditional marketing is still king in how consumers make moviegoing decisions. Trailers and previews are the biggest influence for movie choices at 40%, which can include a variety of sources for where that trailer is viewed (theater, TV, website, Youtube, etc.) TV ads still play a large role in decision making at 20%. Real world word of mouth is also a important source of the selection process at 18%. Only 9% of respondents said that comments or reviews on social networks influenced decisions.

You are Now the Architect of a Multi-Screen Experience

Processing this data is one thing. Interpreting its impact on your strategy for programming, marketing, and engagement is up to you. What’s clear is that what we think about social media, entertainment, and influence and how consumers are behaving can only teach us about how to be more engaging, entertaining, and how to create and steer experiences that matter to consumers and producers. So what’s your second and third screen experience? Have you defined it? If not, this is the time to develop an engaging multi-screen experience because it’s already happening with or without your design.

Image Credit: ShutterstockVia Brian Solis: http://www.briansolis.com