Rozita Tolouey

✅🖥️ AdExchanger (6/3): “Seedtag was mainly attracted to Beachfront’s SSP direct integrations with TV and streaming publishers, which is something that Seedtag doesn’t have much of. These publishers will attract new demand and more scale for Seedtag’s contextual ad products. Seedtag entered the US market in 2022. But it wasn’t until earlier this year that it launched its first CTV-focused contextual ad product that allows advertisers to apply contextual targeting signals to their streaming buys. More advertisers are now looking for addressable alternatives in light of signal loss and privacy concerns, which, in turn, is driving more interest in streaming ad products. Hence Seedtag’s decision to buy rather than build in order to capture that growing demand. Beachfront operates both a video-focused supply-side platform and ad server.” ⬇️ #streamingtv #ssp #dsp #ctvadvertising #spo https://lnkd.in/evvUE4hY

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Video AI technology is undergoing rapid evolution and daily improvement. Read more and see some examples we've uncovered. #videoai

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Per this GameRant Review: "The GameSir Kaleid works seamlessly with Xbox consoles and PCs, including Steam, delivering a smooth and lag-free gaming experience. Featuring Hall Effect sensor-based joysticks and triggers, the GameSir Kaleid provides exceptional anti-drift performance and durability." #GameSir #Kaleid #Xbox

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With more businesses branching into FAST experiences, it's clear that this trend is only growing. One of the key outcomes of this is the TV-like experience being offered as part of a device service. This channel is accessible to all customers who purchased Roku’s low barrier-to-entry devices. The advantages of cable advertising are now in the domain of tech. #FASTTV #Innovation #AdTech

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Some fresh insights on PK & the the live sound industry from one of the best:

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With continued industry disruption in media platforms, including how new platforms and technologies combine, their convergence sets up pathways to the next revolutions and advancements. This report highlights that in the US, male gamers are more engaged and better represented by the games industry even though as many women play video games, highlighting the need for gender expansion. New media platforms are evolving at an unprecedented pace, bringing both opportunities and challenges for gender diversity. As these platforms merge and innovate, several critical points of consideration have emerged. #newmedia #digitaldisruption #gaming #genderdiversity #womeninmedia #equality #videogames

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🎉 Really excited about this one.... An interesting thing is happening in the performance marketing ecosystem: digital media has become slower and more aggregated in terms of feedback, while OOH and DOOH have become more granular with faster reporting, meaning there's a 'meeting in the middle' and OOH is earning its rightful place in the sales funnel. There's a lot to unpack, but looking forward to chatting on it! #performancemarketing #ooh

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There is such a thing as win-win in business. Success does not have to be a zero-sum game. This is something I hold very dear. Also: Transformers x Hot Wheels is just really damn cool.

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Busy week in the industry ahead of Cannes 🇫🇷 Roku Exchange will provide more signals advertisers want. The line between programmatic and direct buys is getting blurrier. 📺 Go Louqman Parampath! Oracle is shutting down its ads business. If you’re not 100% in the media business, the rapid changes in the privacy world pose too great of a risk. ❌ Seedtag acquires Beachfront! Contextual signals are super important for CTV, not just environments that rely on cookies. 🌐 LiveRamp RampID is now integrated into Nielsen ONE! Comprehensive measurement requires interoperability. 📊 Experian launches an onboarding business. If anyone can shake up the onboarding business its Experian! 💼 Shout out to old colleagues Kimberly Gilberti Adam Kobus ❤️ Albertsons Media Collective TV Launch. Another RMN expands to CTV where higher CPMs and additional inventory are a catapult for growth.  🚀 And this is only a snapshot of the news 🤯

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The free #spatialaudio tool that just keeps getting better. Our dedicated software R&D team continues to execute a rich roadmap that leads the industry into the future of sound. Premiered in the field in 2016 (a jazz festival, a tour, a major theme park) L-Acoustics L-ISA was originally designed with the challenge of real time live environments in mind and is an incredibly robust ecosystem. Creatives have since harnessed its mixing capabilities, binaural rendering, and ability to integrate with other technologies to do so much more - from hybrid events to XR to album releases to motion tracking. What next? Imagination, creativity and the drive to design transformative experiences will tell…

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As the film industry faces successive obstacles, Variety's latest report delves into the strategies and players shaping Hollywood's future. Featuring exclusive insights and data from Luminate Film & TV, discover how studios, streamers, and distributors are adapting to the complex landscape of the modern film market. Read the full report from Kaare Eriksen for a comprehensive analysis of the industry's current state and where it's headed: https://lnkd.in/gPTmU3pC

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✅🖥️ Variety (7/1): “ Pay TV. SVOD. AVOD. Social video. They aren’t often grouped together, but the latest data in the new Variety report “Social Video vs. SVOD: The Race to Replace TV” suggests they can be thought of as a series of historical shifts in U.S. audience viewing behavior. First, the cable business broke broadcast TV’s stranglehold in the 1980s. Thirty years later, Netflix led a field of successor streaming services that siphoned eyeballs at equally sizable scale from linear TV. And now even though streaming is hardly done in terms of its growth relative to broadcast and cable, there are signs of a paradigm shift already in motion: a third wave of fragmentation in which social video begins to eat into the market share of major streaming services. Data keeps mounting that video consumption on the big social platforms — primarily YouTube, TikTok and Instagram — is growing strongly, with users spending more time on these platforms each year. In this report, Variety provides a data-driven probe into how this viewing may impact time spent with subscription video.” ⬇️ #streamingtv #ctv #ott #upfronts #socialmedia #tv3 #cordcutting #genz https://lnkd.in/eUbfGa_D

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Music Business Association Music Biz 2024 coming up in May. Find out more about Reactional Music and what we are delivering across interactive music, music personalisation, in-game economies, generative composable music and the possibilities for creators, composers, artists and developers

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✅🖥️ Variety (5/22): “Last year, the writers strike kept boldface names from appearing at the upfronts. This year, everybody turned up the star power to 11. NBCU stuffed its presentation with performances from Little Big Town, Michael Bublé and Kelly Clarkson. Amazon went overboard with a nonstop parade of A-listers, including Reese Witherspoon, Will Ferrell, Jake Gyllenhaal and tennis great Roger Federer, with none other than Alicia Keys as the opening act (and yes, she promoted her Amazon line of skin care products). Disney also hauled out the heavy hitters: Ryan Reynolds, Michelle Williams, Sterling K. Brown, Steve Martin, Martin Short and Selena Gomez, just to name a few. Opening Disney’s upfront was Emma Stone, introducing CEO Bob Iger while getting in one more plug for her Oscar-winning film “Poor Things.” The sheer number of movie mentions (NBCU took time to debut the trailer to “Wicked”) felt unusual at an event traditionally tailored to ad-supported TV. But in the streaming age, everything’s for sale — and there’s nothing brands like more than cozying their messages up to the biggest names in showbiz. Sports franchises were put on a higher pedestal than usual as networks lean on live games to deliver the audiences that advertisers covet. Sports personalities, from Tom Brady to Jason Kelce to Dawn Staley, were all over the presentations. Fox made it clear to anyone in earshot that it has the Super Bowl next year and it has Brady, a bona fide NFL legend, joining the Fox Sports team in the booth for football season this fall. Disney used a hunk of its time to tub-thumb the future of ESPN. Netflix bragged about landing two Christmas Day NFL games. WBD pledged allegiance to the NBA even as the company is kneedeep in contract negotiations with the league.” ⬇️ #upfronts #newfronts #streamingtv #ctvadvertising

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✅🖥️ DIGIDAY (6/27): “NBCU and Warner Bros. Discovery (WBD) are making inventory on the Peacock streaming platform and the Eurosport website and supporting apps available to buy in private marketplaces (PMP for programmatic advertisers). That development could mean brands with smaller budgets can access huge Olympic audiences previously fenced off to big spenders. Peacock is set to carry the entire Olympic schedule — over 5,000 hours of live sports — and ads running against that coverage will all be available to buy programmatically, via a partnership with ad tech provider The Trade Desk. At the same time, Warner Bros. Discovery, which holds coverage rights across Europe via its Eurosport brand, has also begun to make inventory on its Olympic coverage available programmatically. It launched a new marketplace in May, WBD Connect, which gives advertisers access to ad inventory across CNN International Commercial (CNNIC) and WBD Sports Europe, including Eurosport, in partnership with ad tech vendor Magnite. While Eurosport streaming ads WBD’s streaming platforms Max and discovery+ will not be available to buy programmatically, the publisher has put ads on the Eurosport website and apps on the table. Like NBCU, the majority of WBD’s inventory is available via PMPs, though it’s also making a limited inventory available to the open market via pre-bid and in-app mediation.” ⬇️ #streamingtv #programmatic #olympics #ctv #ott #avod #smarttv https://lnkd.in/eeGpq4d7

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Licensing has a vital role in Mobile Game Publishing, as the industry has faced significant challenges in recent years, particularly in developed markets like the US and China, where downloads and consumer spending have notably declined. This trend has pushed developers to explore opportunities in emerging markets such as India and Vietnam, where user acquisition (UA) costs are lower, albeit with lower consumer spending power. As developers pivot towards these new regions, the importance of licensing becomes increasingly clear. Here's why licensing is crucial for mobile game publishers: Market Access & Cultural Relevance 🌍 Licensing deals can provide invaluable insights into local markets, helping publishers tailor content to cultural preferences and regulations. This can significantly enhance a game’s appeal and acceptance in diverse regions. Brand Trust & Recognition 💡 Licensing well-known IPs or collaborating with established local brands can build instant trust and recognition. This is especially important in markets where building brand loyalty from scratch can be a slow and costly process. Monetization & User Retention 💸 Licensed content often comes with built-in fan bases, which can lead to higher engagement and retention rates. This, in turn, can boost monetization efforts, crucial in regions with lower spending power. Navigating Regulatory Landscapes 📜 Local licensing partners can assist in navigating complex regulatory environments, ensuring compliance and smooth entry into new markets. This can save publishers from costly legal hurdles and delays. Despite the challenges posed by recent IDFA changes and a cautious approach from developers focusing on established games, the mobile gaming landscape remains dynamic. Global mobile ad spend continues to grow, and with strategic licensing partnerships, publishers can effectively tap into new user bases, ensuring sustained growth and innovation. Licensing isn't just a strategy; it's a lifeline for mobile game publishers aiming to thrive in a shifting global market. 🌐 #MobileGaming #GameDevelopment #Licensing #UserAcquisition #GamingIndustry #EmergingMarkets #Innovation #StrategicGrowth

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I still believe the best way to buy all media, when possible, is programmatically to enable decisioning. However, the current setup isn't efficient and frankly kinda sucks when it comes to TV. Between fraud and unnecessary middlemen that don't add value, we need a change. (Yes, Goodway Group is already on its way to a huge CTV buying overhaul that will deliver 30-40% more CTV value for brands shortly!)

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A very important read given original IP seems to be seeing its bleakest moment in the streaming and studio business across regions especially for scripted series. Choosing to adapt existing formats/books/film to TV….. it’s the need of the hour perhaps. Building original content libraries if I can call it that, in each new market with its own content appetite and unique culture of crafting/writing - it seems to have run its course and I hope I am wrong. Back when Development Executives and Development verticals in studios were considered assets, their job was to devour manuscripts, sometimes upto 10 a day while writing coverage and re pitching these new IPs to content heads on a weekly basis. It was a factory assembly mode style of working and it was so rewarding! While interning with Mandalay in LA in 2013, it was manna for a studio intern fresh out of Uni to get on endless calls with Lit Agents and Managers and Writers across agencies. All I did was listen to ideas, read everything anything, watch short films, watch docus, watch spec trailers, pilots and hunt for not just new talent with more ideas but match existing submissions to new talent that agents constantly pitched to us. Weekends were informal pitch sessions again in house parties and hikes and cook out sessions with other content execs and interns across the valley, across Culver City, across all of LA. What a fantastic time to train as real execs in the real world and finding mentors across studios in the form of Syracuse alumni passing on sound business ethics and learning’s every week! Now that shareholder sentiments are nervous to keep up with old business models for IP and the age old principle of ‘collect, build and wait’ may be on pause, my two cents. It’s back to the drawing board for us all, especially my writer/director friends. Time to innovate on HOW you pitch when you get that golden chance to. Think out of the box, use AI, ask for help from your cinematographer/editor/tech savvy friends and pitch with optics and sound and production theatrics! And then, give equity and credit if not money yet, to all those who are putting in their time to get your original IP out there. A director I know as optimistic as a man can be in these trying times reminded me last week “Ranjana to quote Mark Duplass, the cavalry is not coming. Sirf hum hi hey (it’s just us now)” Find your general and soldiers, if you want to change the course of the tide in these times. The collective might goes longer than the individual spirit in not just good times but also troubling times. Stand together and stand strong!

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