Hollywood confab focuses on pre-show ads, 3D, interactivity, mobile-powered content
By Carolyn Giardina
Hollywood, Calif. --Developing digital cinema systems enable new forms of in-theater content that may enhance the audience experience and increase earnings for theater owners. If this technology is used wisely, it can attract new audiences. If not, it risks alienating moviegoers.
With this in mind, the Entertainment Technology Center at USC presented an event at its Hollywood-based Digital Cinema Laboratory last week titled “Other Digital Stuff: Expanding the In-Theater Experience,” which featured clips and demonstrations of opportunities in music, sports, independent film, pre-show ads, 3D, mobile-powered content and games that augment the cinema experience. It also included analysis from industry leaders.
To start off, a panel of digital cinema stakeholders was asked if features were enough to support a digital cinema industry, or if the industry requires “ODS” (other digital stuff), including advertising and games, as well as independent film and other alternative content screenings during unused theater hours. The consensus was digital technology would enable a lot of new opportunities, but it would not be the dominant reason for a transition.
Kurt Hall, president and CEO of National CineMedia, suggested that the technology’s ability to regionalize trailers and advertising means that the industry is “creating a very powerful marketing platform.”
“It’s also potentially the most exciting thing that’s ever happened to small independent film,” added John Fithian, president of the National Association of Theater Owners (NATO).
Steve Perrin, deputy head of distribution and exhibition at the U.K. Film Council, said that London’s 2012 Olympics is likely to only be attended by a small portion of U.K. residents, but potentially many more would be able to watch these events in a digital cinema theater.
Howard Lukk, executive director of production technology at The Walt Disney Studios, cautioned that not every new opportunity will stick. “I expect to see some initiatives pop up and then go away,” he opined. “But [digital cinema technology] makes a compelling reason to look at these things.”
Among the presentations was a 3D pre-show from Joshua Greer, CEO and co-founder of 3D system developer Real D, which was used to present Disney’s Chicken Little last fall, and will be working with Sony Pictures to release a 3D Monster House this summer. Real D’s pre-show demo included an eye-popping 3D Hershey’s commercial (borrowed from a presentation at Hershey Park), as well as a 3D slide show that included local advertising, trivia and sports scores. Greer reported that as more 3D theaters go online, he expects dialogue to pick up with the advertising community.
Hall, however, opined that it “would be difficult to create a pre-show that is entirely 3D.”
Hall then screened an example of National CineMedia’s “First Look” pre-show, the center of which was a preview of an upcoming feature that included cast interviews; the segment also included advertising for Xbox, M&M’s and Coke.
“We are trying to create something relevant for the movie-goers’ experience that is entertaining,” Hall explained. “TV is not as effective as it used to be …First Look is really trying to create a first release platform for marketing.”
A similar concept was presented by Screenvision, whose VP of sales, Western region Adam Stewart, suggested that “Madison Avenue is looking for engagement–that’s an important part of what we do.” His clips included an entertaining look at HBO series Entourage. He reported that company research showed 93 percent of tested viewers felt positive or neutral toward the pre-show.
Norway-based Unique Digital’s director of business development Patrick Von Sychowski offered a view from abroad, saying that in Norway a digital cinema transition began in ’02 and today cinema commercials are no longer created on film. He added that digital commercials are now being tested in select European markets, and emphasized the need for big advertisers and quality. “Every advert has to be a Super Bowl advert,” he said. “We have to raise our game.”
He also suggested that in this new digital world, ads may be produced less expensively than film-based cinema ads. “We’re also seeing a revival of local advertising because the tools are cheaper,” he said. “You can make them on a laptop.”
Von Sychowski, as a member of the Screen Advertising World Association (SAWA), also reported that recommended production guidelines are in development for digital cinema commercials, including specs for image resolution and audio.
INTERACTIVITY
A series of companies next demonstrated interactive pre-show opportunities, from games to mobile powered content, and invited conference attendees to participate.
Jon Snoddy, chief creative officer of Timeplay Entertainment, showed a prototype handheld device that enables audiences to participate in pre-show quizzes and games, as well as answer questions that help gather audience research. A user could also utilize the device to order from a theater’s concession stand for delivery to one’s seat.
John Matra, senior VP of business development at Goldpocket Wireless, reported that today, 60 to 70 percent of cell phone users have sent text messages, and he demonstrated how the use of text messaging may enable direct marketing efforts. The company invited conference attendees to turn on their cell phones and sample the experience, which included a sweepstakes where one could text an entry for a drawing for a new TV, or could text for a coupon toward a new cell phone. The company also showed a Miami Vice trailer, which ended with an invitation to text to receive opening day alerts.
Matra also reported that the Mobile Marketing Association is working on guidelines for these sort of uses, as they affect topics such as customer charges and the use of phones by minors.
Throughout the day, clips were also played to give attendees a taste of an alternative content viewing experience. This included segments from concerts, the Super Bowl, the Academy Awards, documentaries/independent films, and a fashion show.
Eleanor Adds Director Candice Vernon To Its Roster For Spots and Branded Content
Director Candice Vernon has joined production house Eleanor for U.S. representation spanning commercials and branded content. She has already wrapped several jobs at Eleanor, which waited to announce her until they had a body of work together.
Via Eleanor, Vernon made history as the first Black director on a Febreze commercial. The “Small Spaces” campaign marks a major departure from Febreze’s typical blue-and-white world. The home of the “Revolving Door” commercial is a beautiful array of bold sunset hues, African prints, and African art.
Vernon said, “I asked myself, what feels right to me? What feels new? I wanted to bring an essence of not just Black Americans but the full diaspora. I wanted to make a statement that we’re not a monolith.”
Following the success of the “Small Spaces” campaign, Febreze brought Vernon back for a comedy-infused trifecta exploring the hilarious situations that call for an air freshening hero.
Febreze Brand VP Angelica Matthews said, “About two years ago, we realized the consumers that were the most loyal to Febreze were the African American consumers. And the more we learned, the more we realized the richness that we were really missing. So we said we have to go beyond just Black casting, we need to get Black directors that truly understand the culture that truly understand how to bring authentic performances out on screen. We really looked around the industry and noticed there’s actually a shortage of African American directors who have experience doing commercials. When we all saw Candice’s reel, we could all tell the passion for the craft, passion for really trying to help us from where we are to where we’re trying to go.”
Vernon brings a unique lens to... Read More