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November 12, 2011

Advertising As A Destination Model: A Contrarian View

PETER KRAINIK

November 12, 2011

I caught up again recently with digital pioneer and media contrarian Jeff Einstein of the Brothers Einstein, and we discussed what he describes as the existential crisis in the commercial media channels today.

 

Pete: What’s the problem, Jeff?

Jeff: The real problem in the media ecology right now is the absolute dearth of effective, scalable reach for big brand advertisers. All branding is a function of reach, first and foremost, and brands simply can’t grow unless and until they can find and secure cost-efficient ways to scale effective reach. In fact, scalable brand reach is the only nondiscretionary line item in any big brand media spend, and that’s why–after all this time–digital branding revenues are still just a small fraction of their network TV counterparts, despite the rapid growth of the digital channels and the equally rapid erosion of effective network TV reach in recent years. Brand advertising nowadays is suddenly like the proverbial tree in the forest that falls when no one is around to hear it. Despite the increase in sheer tonnage, the media channels are shedding effective, scalable brand reach.

 

Pete: How can there be no effective, scalable reach when there’s so much inventory, especially online?

Jeff: For the same reason that knowledge and wisdom are subtractive, not additive. Because the entire advertising industry–especially online–caters almost exclusively to the supply-side creation and distribution of the one thing no one in an on-demand media universe demands and the one thing everyone in an on-demand media universe is equipped to avoid: the ads themselves. It’s utterly nonsensical and completely delusional to think for a moment that we can generate effective, scalable brand reach with the one thing no one wants and everyone is equipped to avoid–regardless of the medium.

 

Pete: But what can advertisers do to compensate for the loss of effective, scalable reach on TV if no one wants the ads online either?

Jeff: We need to begin by asking the right question, one that’s truly mindful of the fact that all commercial media are now and always have been on-demand. And the right question in an on-demand media universe isn’t, “How do we target the right audience?” The right question is, “How do we get the right audience to target us?”

 

Pete: Implicit in that question is an assertion that the right audience somehow qualifies itself.

Jeff: Exactly, Pete. Self qualification is now and always has been the defining characteristic of all on-demand media. In fact, we declare our demographic profiles every time we decide which programs to watch on TV, what to listen to on radio, which magazines to read, or which websites or blogs to visit online. In an on-demand media universe the right audience always qualifies and declares itself simply by showing up. But in advertising, getting the right audience to show up is the easy part.

What’s the hard part?

 

Jeff: The hard part is delivering the brand message once they get there because no one ever goes anywhere for the ads, and the ads can no longer hope to penetrate the massive inertia generated by their own incessant clutter, especially online. The patent inability to bust through the clutter of our own commercial media environments adds insult to injury for advertisers because it forces them to pay the equivalent of a progressive environmental tax, what I call it the Inertia Tax, the growing percentage of each media dollar dedicated to overcoming the inertia generated by the commercial media environments themselves. The Inertia Tax online is especially onerous and masks the much simpler truism that the ads aren’t there to support the content in the first place. Quite the contrary: the content is there to support the ads.

 

Pete: Some would argue that content is king.

Jeff: Content may be king, Pete, but content is always incidental to the real function of all commercial media: deliver the ads. This fundamental truism of commercial media gets lost in the clutter each and every time we sit down to calculate our Inertia Tax. Even kings need their financial barons.

 

Pete: So what can advertisers do?

Jeff: Rather than pay to immerse the ad in the content, advertisers need to remove the ads from the intermediary clutter entirely and immerse the content in the ad instead on a branded destination page. Advertisers need to augment or replace the collapsing advertising-as-intermediary model with a more robust and effective advertising-as-destination model.

 

Pete: Can you give me an example?

Jeff: Sure. The advertising-as-destination model dominated the golden years of radio and TV, when advertisers owned the programs they sponsored, and thus owned the entire branding experience, soup to nuts. The programs were indistinguishable from the ads because everyone knew full well that the programs were only there to deliver the ads. The programs and the brands who owned them shared the same marquees and the same destinations.

 

Pete: That was a long time ago, and most advertisers don’t own their own content anymore.

Jeff: That’s true. Advertisers have devolved over the years from content owners into media renters. But while many advertisers may not own their own content anymore, they can certainly license what they need and own the virtual theater and stage. They can own the online destination. The secret to delivering an impactful brand impression is purely subtractive, and the job of the brand marketer is to subtract all competing distractions, to distill the branding environment until only the essence of the pure content and brand message remain. It was true eighty years ago for the radio pioneers, true in the 1950s for the TV pioneers, and even truer today when the Inertia Tax consumes so much more of each and every media dollar invested.

 

Pete: Is anyone building those destination environments online today?

Jeff: There’s an online syndication shop in New York City called Studio One Networks. They’ve been quietly and successfully building single-sponsor destinations for big corporate clients online since 1998. Ironically, one of their biggest clients is P&G, the sponsor for some of the earliest radio and television soap operas. Anyone interested in building quality environments for their brands should pick up the phone and talk to Andrew Susman.

 

Pete: I can understand how the advertising-as-destination model might deliver a much more effective branding environment, but how does it deliver scalable reach?

Jeff: It doesn’t. Just shifting from the advertising-as-intermediary model to the advertising-as-destination model can’t deliver scalable reach. In order to generate scalable reach, you need to replace the intermediary ads that no one wants with something that everyone wants. The current advertising-as-intermediary model is like fishing with bait that’s been clinically proven to repel fish. Simply stated, advertisers need better bait.

 

Pete: Such as?

Jeff: Short-format video clips. Just as we can state unequivocally that no one wants more ads, we can also state unequivocally that everyonewants more short-format video–the only reason any of us pay through the nose for high-speed Internet access to begin with. The fact that the folks who don’t want more ads are the same exact folks who want more short-format video merely confirms the need and insatiable appetite for better bait. If you want to attract specific audience demos in real scale, just replace the ads with demographically appropriate video snack thumbnails. Once you do, self-qualified audiences will flock to your exclusively branded destination pages in huge numbers. It’s the only way for big brand advertisers to compensate online for the erosion of big brand reach on television, and the only way to vastly reduce or eliminate the Inertia Tax that drives up costs and drives down performance for everyone. Remember the sage lyrics of Fishin’ Blues: “Any fish bites if ya got good bait, here’s a little somethin’ I would like to relate…”

 

Pete: Is anyone fishing with better bait now?

Jeff: There’s a small company just southwest of Chicago that owns and operates a contrarian network called the Vidsense Video Snack Network. Unlike all the online ad networks, however, Vidsense doesn’t distribute any ads. Instead, it delivers what it calls Video Snack Bars across a network of more than 25,000 safe-for-work websites. Each Video Snack Bar carries up to eight unbranded video thumbnails, selected for their proven ability to attract and drive specific audience demos directly to single-sponsor destination pages. Each click on a Video Snack Bar thumbnail resolves on a single-sponsor destination page where the requested video clip plays while immersed in and surrounded by the brand message. As far as I know, Vidsense is the only pure brand reach network on the Internet, and the only one that can deliver the scalable brand reach numbers of TV–upwards of 300 million self-qualified visitors per month–with the immersive interactive performance of digital.

 

Pete: Why aren’t there more companies like Studio One Networks and Vidsense?

Jeff: Because everyone uses the same supply side digital tools, because no one driving the digital bus is old enough to remember Sal Mineo, and because they don’t teach common sense in business school.

 

Pete: Thanks, Jeff. Always interesting.

Jeff: Thank you, Pete.

 

 

August 27, 2010

Content syndication gets more niche-oriented

Studio One

August 27, 2010

Content syndication is one of the oldest media tricks in the book for publishers looking to supplement their original content. But syndication has evolved beyond big names like the Associated Press and Bloomberg. Interest from both publishers and advertisers has propelled new syndication business models for more niche content, specializing in topics like cars, pets and sports.

 

More vertical-focused content helps media companies expand their coverage into specialized areas. But it also represents an opportunity for the publishers themselves to scale and syndicate their own niche content. Content companies such Studio One Networks and High Gear Media offer topic-based content to publishers, through both licensing deals and advertising-supported programs.

 

Studio One Networks, which creates editorial programs focused on several verticals such as health, parenting and pets, has tapped into interest among advertisers to sponsor editorially independent content in a specific niche in order to reach a targeted audience. Procter & Gamble is a big backer behind programs such as the Prilosec-sponsored Live Right Live Well. And P&G-owned IAMS is the sponsor of The Dog Daily, a program licensed by media companies such as CBS.

 

Don't confuse Studio One with the concept of custom publishing. Advertisers may sponsor Studio One's editorial, but Studio One claims they don't influence or control the content.

 

Studio One provides the sponsored content for free to its 600 media partners, ranging from big names like CBS and Yahoo! to popular blogs like Madame Deals, which uses two of the content programs as filler content. The model is "like an Associated Press, but supported by advertisers," explained Andrew Susman, president of Studio One Networks.

 

"This is all based on the fact that the old way of [display] advertising isn't working online," Susman said.

 

Studio One's editorial approach is based on creating information produced by subject-matter-expert journalists and then syndicating the content to its online publisher partners, Susman said. "Publishing partners can retain audience with high-quality content that's supplied to them for free, and advertisers can associate with something consumers actually want rather than trying to intrude."

 

The program sponsor will always be displayed on the syndicated content, but media companies can sell additional advertising around the content. For instance, you'll see regular display advertising around Studio One's Dog Daily content on this local Fox TV news site:

 

Keeping an eye on editorial quality

WorldNow, which provides online publishing solutions to local media companies like the one above, uses Studio One in addition to many other content providers, ranging from big brands such as Forbes to providers more focused on specific verticals. Produced by a small content staff, most of WorldNow's lifestyle content comes from syndication partners, said Lisa Spodak, vice president of national content and lifestyle editor-in-chief at WorldNow. Studio One is a major provider for pet content and other lifestyle channels.

 

Spodak said she always questions whether the sponsor is influencing content and is clear with syndication partners that "if there's any kind of advertising element to it, it has to be transparent." With Studio One, she said, "it really is independent content that's brought to you by a sponsor."

 

Susman said more progressive advertisers understand the need for editorial independence. Advertisers can offer their own sponsored content if they want (like a traditional advetorial) as well as use program content in their own newsletters.

 

"Ultimately the police for the quality of our content are the media partners," he said. "Unless they believe that what we're supplying is at least as good as what they're supplying, we have no business."

 

Susman, who is also chair of the Internet Content Syndication Council, is vocal about improved quality standards and has spoken out against so-called "content mills," or companies that focus on producing cheap content that does well in search. He's worked with the ICSC in developing a draft of standards to improve the quality of online content.

 

The topic is timely, as noted content mill Demand Media has begun syndicating channels of topically focused content. Publications already using Demand's content channels include Hearst Corp.'s SFGate.com and Chron.com and Gannett's USA TODAY.

 

In addition to the Demand deal, USA TODAY might be ramping up its own syndication efforts: The publisher today announced, as part of a broad reorganization, a new vice president of business development who will "secure new business opportunities," including brand licensing and content syndication. A single-topic focus.

 

While Studio One offers content in a variety of content verticals, publishers also turn to companies specializing in one vertical, such as High Gear Media, an automotive media company. Sports and technology are other common syndication verticals. The Bleacher Report licenses its sports content to several media companies, including The Los Angeles Times and USA Today. The New York Times supplements its technology content with news feeds from popular technology blogs such as GigaOM and ReadWriteWeb.

 

"Increasing numbers of publishers are going to be turning to online publishing companies that specialize in vertical content," said Jeff Birkeland, vice president of product management at High Gear Media. "Then the publisher can focus on what's really important to them and their audience - it might be local coverage; it might be news coverage."

 

High Gear has created an interesting model as an all-around publisher and curator of the auto industry, publishing its own websites (including TheCarConnection, MotorAuthority, and GreenCarReports.com) in addition to licensing content to other outlets. Birkeland said syndication arrangements could be based on advertising revenue share or content licensing.

 

Birkeland said car coverage can be lucrative advertising-wise for media companies, but it can also be difficult to produce. High Gear has created a scalable business based on a technology platform specifically for automotive coverage.

 

The company creates white-label auto sections for media companies, such as this local CBS website:

 

High Gear leverages a few in-house journalists and more than 250 freelancers and contributors, paid via revenue-sharing, to produce its content. Contributors include automotive journalists or bloggers as well as people who work in the automotive industry. High Gear could be classified as a content mill, but Birkeland said the difference from others in the category is their vertical focus on the automotive industry. "You got to know something about cars to be writing about cars," he said.

 

High Gear's strategy also includes aggregating and curating content from around the Web. For instance, a review about a particular model of a car on one of High Gear's sites will also display snippets of third-party reviews and video clips. This curation element is applied to High Gear's own content as well as the outside media properties that license its content.

 

"We're basically creating the largest news desk ever created for the automotive industry," Birkeland said.

 

July 06, 2010

Council to Counter Web Content Generators' Growing Clout?

Studio One

July 6, 2010

It's not just job-threatened journalists who are worried about the rise of low cost content generators like Demand Media and Associated Content.

 

A group of established content syndicators are concerned enough by these companies' growing clout and what they see as diminishing content standards on the Internet-that they are looking to do something about it. Officials from the three-year-old Internet Content Syndication Council, which includes members such as Procter & Gamble, Reuters and The Tribune Company, are circulating a document that could eventually evolve into an official doctrine on online content syndication.

 

It's early in the process, but ICSC leaders are exploring whether its members are interested in creating some sort of public set of quality guidelines for Internet contentor perhaps even an accreditation process for syndicated content.

 

Some in the organization believe that the quality of Web content has been cheapened by companies like Demand and Associated Content, which often employ low-paid freelancers. They specifically want to call more attention to the ability of these content generators to seed their articles through search, which in their eyes squeezes out professionally produced content.

 

"What concerns us is that most of these new content syndicators are producing low-quality articles that are link based," said Tim Duncan, the ICSC's recently installed executive director. "They are designed to score high on search. That drives down high quality content."

 

That dynamic doesn't just make it tougher for traditional content syndicators to succeed; it actually makes the Internet less valuable by junking up search engines. "We want to preserve the utility of the Internet," he said.

 

Some ICSC members have even advocated reaching out to Google to urge the search giant to tweak its algorithm to give more weight to content quality in its search results.

 

Executives from Google declined to comment, but a spokesperson did release a statement. "Our search algorithms are designed to surface the most relevant web content for our users. Of course, content quality, broadly defined, is a key component of this. While we can't get into the specifics, we look at over 200 unique signals to rank Web pages, and these change nearly every week."

 

Besides search, the ICSC also wants to reach out to two key constituencies: publishers who regularly syndicate content and brands that frequently advertise alongside such content. Their message is basically, be careful, because you get what you pay for.

 

"This is not about any specific company, but publishers have to be careful about what they put on their Web sites," said Andrew Susman, CEO of Studio One, which syndicates lifestyle articles to over 600 sites, including local TV station Web sites for all four of the major broadcast networks. "If they put sloppy or inaccurate content on their sites, over time, those sites will simply lose traffic. It's not our right to tell publishers what they should carry. But there is an aggregate effect. Low quality content can pollute the information ecosystem."

 

Executives from Associated Content, which was recently purchased by Yahoo, were unavailable to comment, while Demand Media officials declined. It's likely that both companies would defend their content's quality; they might also point out that much of the content they produce is used on their owned and operated sites and is not distributed elsewhere.

 

Still, as more traditional brands consider advertising with these companies, the ICSC wants to plant the quality question in their minds. "Many advertisers are concerned about content quality," argues Duncan. "It does matter."

 

The content argument does seem to matter to several ICSC members, who are weighing whether to push for a formal set of guidelines.

 

"We are concerned about it," said Steve Tippie, vp of licensing and market development for Tribune Media Services, who added that the ICSC is expected to meet to discuss the subject in a few weeks. "We do see bad content, inaccurate, or poorly written content squeezing out the good stuff."

 

Tippie mentioned a recent example that involved his company's announcement that the Little Orphan Annie was set to end. He noticed that an article about Annie written by Cathy Montville, Associated Contents Food and Wine Contributor, had cracked the top ten during several searches he conducted. "It was a cut and paste job, with tortured syntax," he said. "It popped up above so many other rich good articles about the Annie news."

 

"It's very good that ICSC is at least raising the issue in a logical rational way," Tippie added. "They are not in a panic mood."

 

Indeed, ICSC members don't seem to want to come off as alarmist, or behind the media curve. "I'm not saying we wouldn't do media buys with [an Associated Content or Demand]," said Ken Zinn, digital Marketing Manager at P&G. "But P&G has really important brand names with good quality associated with them. We want to sponsor content of equal quality."

 

Added Zinn: "I'm not certain of the quality of some of the content out there. I don't want to sponsor content that was produced by someone who doesn't even have a high school education."

 

March 02, 2010

Studio One Hits 200 Mil. Unique Browsers Monthly

Studio One

March 2, 2010

Twelve-year-old Studio One Networks will soon pass 200 million unique browsers per month, per a Compete.com analysis. CEO Andrew Susman credits "the appeal and impact" of the company's content. Studio One currently partners with more than 500 Web sites and specialty publishers, including CBS, FOX, ABC, NBC, Yahoo!, the CW, Time Warner and AOL. Exclusive sponsors and programs include Iams "The Dog Daily" (Iams), "Your Security Resource" (Symantec) and "Driving Today" (Bridgestone USA).

 

March 01, 2010

People and Accounts of Note

Stuart Elliott

March 1, 2010

David Griffin joined Studio One Networks, New York, in a new post, vice president for sales. He had most recently been vice president at the partnership group at the Time Warner Global Media Group, New York, part of Time Warner.

 

January 01, 2010

Back to the Future: Advertising as Destination

Studio One

January 1, 2010

Next generation models for content-supported advertising.

 

Everyone talks about ad-supported content. But ad-supported content is a misnomer and a myth. It simply doesn't exist because the ads aren't there to support the content. In commercial media, the content is there to support the ads.

 

In recent years, however, we've witnessed the sharp decline of advertising performance across virtually all media channels, especially online, where click-thru rates for display advertising now hover at statistical zero (less than .1%). But it's not because the content is somehow less attractive or appealing (in fact, commercial media consumption has increased dramatically over the past generation). Rather, it's because of a basic truism of advertising: we consistently and overwhelmingly choose not to consume ads whenever and wherever possible. The one thing we know for certain in an on-demand media universe is that no one demands more advertising.

 

Historically, advertising as an intermediary between consumers and brands only worked when the inconvenience of avoiding the ads outweighed the inconvenience of watching them. The moment we no longer had to get up off the couch to change the channel was the moment ad performance started to erode. It's been on the downward slide ever since.

 

Indeed, contrary to conventional industry wisdom, the introduction and ubiquity of increasingly sophisticated ad targeting technologies comes less in response to the super-fragmentation of audiences within a media universe of functionally limitless bandwidth, and more in direct response to the near-total technological empowerment of consumers to avoid ads. If anything, however, there seems to be a direct inverse relationship between our ability to target audiences and ad performance across the board: performance declines as targeting technologies proliferate and improve. If falling ad performance rates are any indication, better targeting - no matter how sophisticated - is clearly not a viable long-term solution.

 

So what is? If the content is there to support the ads, what kinds of content models will do a better job? Here's one instance where we might take our cue from the golden years of radio and TV (especially as the dominance of video via high-speed bandwidth converts the Web over time from an information-based medium to an entertainment-based medium). Advertisers knew back then that no one tuned in to watch their ads, so they fused their brands with high-quality entertainment, programs like the Texaco Star Theater, the Hallmark Hall of Fame, and Mutual of Omaha's Wild Kingdom. In essence, the brands became synonymous with the content, and the ads became part of an otherwise uncluttered and exclusive destination, fully owned and fully controlled by the advertiser. Thus will the future mirror the past as more and more advertisers import or produce more and more content (especially video) for viewing on their own branded microsites and landing pages. In other words, advertising will shift away from its current function as intermediary - where it now fails to perform more than 99.9% of the time - and assume a more primary role as destination. Content will begin to replace advertising as the bait to attract prospects to designated destination environments equipped with specific calls to action. In short, advertisers will rent less and own more.

 

We'll also see a marked increase in information-based content as part of exclusive (or category-exclusive) sponsorship opportunities wherein brands - in essence - trade on their own category-specific expertise. For instance, who better to teach us about the needs of our newborn infants than Pampers? Who better to offer sound nutritional advice for our pets than Iams?

 

Of course, additional content and content syndication brings additional costs, and big advertisers require big scale, which is why - in the not too distant future - we'll see major advertisers begin to invest in or otherwise acquire entire content (and content syndication) networks online. Content network ownership positions will offset both the increased cost of content and the cost of the media to deliver prospects to designated destination pages. Not too long ago, big advertisers owned the programs that aired on the networks (P&G's Guiding Light performed for 80 years on CBS). Soon they'll own the content again. But this time they'll own the network that delivers the content also - as an evolutionary component of digital scale.

 

In the end, the nature of the content - entertainment, information, or a hybrid of both - will matter less than where the content is actually consumed. Over the next several years, the failure of the advertising-as-intermediary model to perform will compel brands once again to reconsider the value of advertising as destination. In the process, we will shift - slowly but inexorably - away from our current status as hunters (those who would stalk and target our prey) to a more appropriate and functional on-demand status as anglers and fishers of men. We are on a journey back to the future - big time.

 

November 19, 2009

Pantene Backs 'Style Glossy'

Studio One

November 19, 2009

P&G's Pantene is sponsoring "The Style Glossy," a Studio One online program for women interested in fashion, beauty, Hollywood stars and trends. Shelley Levitt, the program's managing editor, was the West Coast editor of Self and a senior editor at People. "The Style Glossy" will supply useful information, beauty tips, blog updates from Hollywood stylists and video hairstyle demos. Interactive features include a weekly poll and quiz.

 

October 29, 2009

Studio One Crafts Content for P&G

Studio One

October 29, 2009

Firm is planning to distribute Life & Beauty Weekly to its 500 partners.

 

Web content syndicator Studio One Networks has rolled out a new editorial offering -- Life & Beauty Weekly -- created specifically for Procter & Gamble.

 

The new Life & Beauty content, aimed at women aged 21 to 34, consists of service-oriented information on topics such as health, beauty, nutrition and family.

 

Studio One has tapped journalist Beth Janes, a regular contributor to magazines such as Self, The Oprah Magazine, Shape and Good Housekeeping, to serve as managing editor of Life & Beauty Weekly.

 

Studio One is planning to distribute Life & Beauty Weekly to its 500 partners, which include several local TV stations managed by Fox, ABC, CBS and NBC, as well as AOL and Yahoo. To date, 175 sites have signed on board.

 

Plus, Studio One and P&G have built a destination site for the new brand. Currently, P&G´s Head & Shoulders brand is serving as the site´s official sponsor.

 

October 28, 2009

P&G Sponsors 'Life & Beauty' Web Show

Studio One

October 28, 2009

"Life & Beauty Weekly," sponsored by Procter & Gamble's Head & Shoulders, is a new online show geared to women 21-34. Launched by Studio One Networks, it delivers health, beauty, nutrition, career and relationship information. The weekly program's managing editor is Beth Janes, currently a contributing editor at Self. She has also been a regular contributor to The Oprah Magazine, Shape and Good Housekeeping.

 

September 23, 2009

Expert Q&A: Andrew Susman, cofounder and CEO, Studio One

Tonya Garcia

September 23, 2009

Andrew Susman is cofounder and CEO of Studio One, a creator and syndicator of multimedia content. He answers questions about the broadcast landscape, and the strategies and tactics for effective video communications.

 

PRWeek: When doing an audience analysis, what should you be looking for?

Andrew Susman: The key is to find the sweet spot between your client's marketing and communications objectives and the publications that you are targeting to carry your content. For example, publishers need content that their audience will find interesting or useful. At the same time, advertisers or corporations want to drive awareness and purchase intent in order to boost sales. One solution is to talk to publishers and editors, find out what content their audience needs, and then create non-advertorial content for them that is exclusively sponsored by our client.

 

PRWeek: What are some of your tips for PR pros to create professional looking content?

Susman: There are two key ingredients to professional-looking content: editorial independence and subject-matter expertise. A certain truism in an on-demand media universe is that no one demands more advertising. Content must not have any kind of hidden agenda from an advertiser or corporation in order for consumers to trust it.

 

Second, it should either be created by or involve a subject-matter expert and/or nationally-known authority. Our research shows that consumers rely on content involving subject-matter experts to inform their decision-making process. If that content is presented to them by a company, then consumers view that company with gratitude as long as there is no hard-sell messaging.

 

PRWeek: How has the broadcast PR and video landscape changed in recent years?

Susman: We've all seen a huge shift with the explosion in the number of media outlets and the decreasing audience sizes on each outlet. On the PR front, what this essentially means is that editors are hungrier than ever for good content that will attract a large audience. The downside is that your message will need to be picked up by more outlets in order to achieve scale. Our solution is to build a syndication network of relevant publishers on the Web, effectively aggregating this fragmented audience.

 

On the video front, our research shows that despite the wide availability of user-generated video, consumers still rely more heavily on professionally-produced video, again, with a subject-matter expert involved, when it comes time to make a decision.

 

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