Author: JD

LomoChrome Purple 400

FRESH!! LomoChrome is a new film from Lomography that brings back an old favorite for you serious photo enthusiasts, LomoChrome Purple. LomoChrome Purple is an Aerochrome-like color negative film that produces an infrared look without the use of any filters. Not a bad alternative to crawling the web for hard to find Aerochrome stock and burning a hole in your wallet in the process. The film will be available this July and will come in 35mm or 120 format and will cost $66-$76 for a pack of five. Lomography

Lil Wayne, Big Boi, More Score Lucrative Sponsored Gigs Around Super Bowl

I WONDER WHY CORPORATE COMPANIES SPEND MORE ON THE SUPER BOWL THAN THEY DO ALL STAR WEEKEND ? By Mitchell Peters, Los Angeles | January 30, 2013 8:00 AM EST As thousands of football fans flock to New Orleans for Super Bowl XLVII on Sunday, dozens of musical acts will also head to the Big Easy to collect hefty paychecks for performing at brand-sponsored events and other private parties during the weekend. Between Jan. 31 and Feb. 3, Anheuser-Busch will host concerts at its Bud Light-branded hotel in downtown New Orleans with Stevie Wonder, Lil Wayne, Big Boi, Pitbull, Flo Rida, Eli Young Band and Lee Brice. Elsewhere around the city, GQ’s invite-only party will feature Lil Wayne; Hennessy is planning an event with Nas; and Playboy’s annual party will boast a performance by B.o.B. Additionally, DIRECTV has tapped Justin Timberlake and Roots drummer Questlove to perform at its weekend party (a benefit for the Shriners Hospitals for Children), while Audi parties will feature Santigold, Diplo and Solange Knowles. And Pepsi has tapped Hunter Hayes, Trombone Shorty and the Roots for its invite-only event at the Metairie Country Club. “Those gigs are the best ones to get,” says the Collective’s Marcus Grant, whose client Big Boi will perform alongside Lil Wayne at an EA Sports-sponsored event at the Bud Light Hotel on Jan. 31. “They have built-in budgets and you don’t have to deal with any backend deals or hard ticket sales. You just make an offer, they accept and it’s a clean check.” Artists generally charge a premium rate for performing at private events — and Super Bowl weekend is no exception. Industry sources estimate that some brands will pay artists between $10,000 and $250,000 (and sometimes higher) to perform at their individual Super Bowl events this year. In addition to a flat guarantee and paid expenses, to sweeten the deal, some acts may also receive VIP tickets to the big game. “Artists command a premium specifically around these events. The parties are competitive because the talent really pulls the whole thing together and creates the overall experience,” says Kyle Schrader, an agent in APA’s entertainment marketing and brand integration department. Schrader is currently helping secure talent for director/producer Michael Bay’s Super Bowl party, which APA client Lamborghini will participate in. In some cases, performing at Super Bowl events is part of a pre-existing arrangement between the brand and artist. Anheuser-Busch VP of U.S. marketing Paul Chibe says the acts appearing at Bud Light Hotel have previously worked with the beer company on some level, ranging from branding deals to music licensing for television ads. He notes, however, that artists performing at the Bud Light concerts are still being paid to appear. The shows are being held across the street from Bud Light Hotel (the Wyndham Riverfront Hotel has been rebranded by the beer company for Super Bowl weekend) inside a tent that cost Anheuser-Busch $575,000 to construct. Performance fees aside, being aligned with a highly recognizable name like Bud Light, the official beer sponsor of the National Football League, during the Super Bowl has other advantages as well. Triple 8 Management’s George Couri, whose client Eli Young Band will play a Bud Light tailgate party on Feb. 3, hopes the group (nominated for two Grammys this year) will receive a boost in press surrounding the concert. “Apart from people who are going to be at the event, Budweiser is going to put out their media machine, letting people know that Eli Young is doing this event with them at the Super Bowl,” Couri says. “Bud Light is obviously one of the biggest advertisers in the Super Bowl and their publicity machine is going to get the word out. That doesn’t hurt.” Similarly, GQ VP and publisher Chris Mitchell says that Lil Wayne’s performance at the magazine’s exclusive party, to be held Feb. 2 at the historic Elm’s Mansion, is less about money and more about helping raise the rapper’s corporate profile and forming a partnership with the GQ brand. “I think [Lil Wayne] and his managers see this as a great opportunity to raise the luxury part of his brand,” Mitchell says, noting that Lacoste and Mercedes-Benz are sponsors of the GQ event. “Given the caliber of his talent, the fee arrangement reflects much more that this is a partnership and that he wants it much more of a partnership, as opposed to being a hired gun.” This year’s Super Bowl has also impacted concert bookings in the markets surrounding New Orleans. The approximately 2,000-capacity concert venue at Hard Rock Hotel & Casino in Biloxi, Miss., which sits about 70 miles from New Orleans, will feature Super Bowl weekend performances by Justin Moore (Feb. 1) and Aaron Lewis (Feb. 2). Hard Rock Hotel & Casino Biloxi senior VP of marketing Vince Lentini says the Super Bowl played a role in which types of artists the venue booked for the weekend. “When we do Super Bowl, we typically try to book two acts that are going to appeal to potentially a slightly younger demographic,” Lentini says, noting that Super Bowl weekend is particularly strong for the casino industry and that the Hard Rock expects a bump in visitors over the weekend.

QUOTE OF THE DAY

“If you do things well, do them better. Be daring, be first, be different, be just.” -Anita Roddick

YouTube Set to Introduce Paid Subscriptions This Spring

LIFERS WHAT DO YOU THINK ABOUT THIS ? A New Revenue Model For TV Networks and Video Producers By: Jason Del Rey Published: January 29, 2013 A new chapter in online video is about to begin. YouTube is prepping to launch paid subscriptions for individual channels on its video platform in its latest attempt to lure content producers, eyeballs, and advertiser dollars away from traditional TV, according to multiple people familiar with the plans. YouTube has reached out to a small group of channel producers and asked them to submit applications to create channels that users would have to pay to access. As of now it appears that the first paid channels will cost somewhere between $1 and $5 a month, two of these people said. In addition to episodic content, YouTube is also considering charging for content libraries and access to live events, a la pay-per-view, as well as self-help or financial advice shows. It’s not clear which channels will be part of the first paid-subscription rollout, but it is believed that YouTube will lean on the media companies that have already shown the ability to develop large followings on the video platform, including networks like Machinima, Maker Studios and Fullscreen. YouTube is also looking outside its current roster of partners for candidates. These people said YouTube could introduce the paid channels as early as the second quarter of this year. One of them said that the channels could be introduced to the public at the Digital Content New Fronts in late April, where digital-media companies such as YouTube, AOL and Yahoo host advertisers for presentations announcing new online-video series. YouTube has been talking about the possibility of paid subscriptions for some time now. A year ago, at at AllThingsD media conference, YouTube CEO Salar Kamangar talked on stage about the potential to poach second- or third-tier cable networks that were having trouble building big enough audiences on cable TV to command subscription fees from distributors. Internet distribution, the thinking goes, would give some of these networks a more direct line to their passionate base with lower costs . “If we have a subscription model,” Mr. Kamangar said at the time, “then absolutely that’s something that becomes possible.” “We have long maintained that different content requires different types of payment models,” a Google spokesman said, in a statement. ‘The important thing is that, regardless of the model, our creators succeed on the platform. There are a lot of our content creators that think they would benefit from subscriptions, so we’re looking at that.” YouTube is treating paid subscriptions as an experiment. much like video rentals when it began in 2010. The initial group of channels will be small, likely about 25 at the outset. The revenue split from subscriptions is expected to be similar to the 45-55 split that is common for ads on YouTube. Partners will also have the option to include ads in their pay channels, but its unclear what form those will take. YouTube is advising its current partners to consider carefully how their existing audience will react. Most have spent years building up a base of free subscribers through hard work and cross-promotion. Can they produce content worth paying for?

Apple Increases iPad with Retina Display to 128GB

Interesting news are coming out of Apple today. The California company has announced a new 128 GB version of its popular 4th generation iPad with Retina display. “The 128GB iPad with Wi-Fi and iPad with Wi-Fi + Cellular models provide twice the storage capacity of the 64GB models to hold even more valuable content including photos, documents, projects, presentations, books, movies, TV shows, music and apps.” The new 128GB versions of the fourth generation iPad will be available starting Tuesday, February 5, in black or white, for a suggested retail price of $799 (US) for the iPad with Wi-Fi model and $929 (US) for the iPad with Wi-Fi + Cellular model.

SO SO DEF 20 COMMERCIAL

#SOSODEF20!! CONCERT COMMERCIAL

QUOTE OF THE DAY

  “Let go of your worries and focus only on the task at hand.The future will be what it will,and fretting about it will only make your fears more likely to come true.” -Christopher Paolini

Is It Worth Spending $4 Million On A Super Bowl Commercial?

Kia will feature its “Space Babies” commercial during the 2013 Super Bowl and hopes to have the most memorable ad among all automakers. (Photo credit: Kia Motors America) Immediately after the Baltimore Ravens beat the New England Patriots in the AFC Championship game and the San Francisco 49ers defeated the Atlanta Falcons in the NFC Championship, the talk turned to the “HarBowl,” a rare Super Bowl match-up between head coaches birthed by the same mother.  While HarBowl chatter has yet to subside and will continue to be a topic of conversation until well after the Super Bowl’s conclusion, it has been momentarily been pushed aside for talk of the game within the timeouts of the game – Super Bowl commercials. Despite the fact that 30-second television advertisements during the Super Bowl sell for approximately $4 million, the game will be streamed online and on smartphones, and many viewers will be staring at their Twitter feeds during breaks in the action, all of the ad space is said to be sold out.  Digital continues to grow, as does the cost to advertise on the Super Bowl, yet demand for the coveted 30-second spot has remained.  Is there a threat of that changing in the near future? “Demand for ads on TV won’t change, but we will see more creative media buys,” explained Craig Elimeliah, RAPP’s VP of Technology and Digital Solutions to Forbes.com.  ”As we move into the future, we will see some synergy between social media like Twitter and networks such as NBC, ABC, and CBS, with tighter synergies where the ad placements will have those social tie-ins.  You may actually see – similar to companion banners on websites – a TV spot with a companion social spot where the person in a commercial actually sends a live Tweet on Twitter while the commercial is airing.  It only takes one brand to do it; I think we will start seeing that next year.” It will likely be necessary for advertising agencies to build in those social ties to Super Bowl commercials, because the traditional nature of turning on a television to watch the Big Game with buddies and friends simply no longer exists.  Today, it is all about the second screen experience and consuming content provided by others around the world while sharing one’s own thoughts, pictures and video with his followers on Super Bowl Sunday.  Advertisers could label the second screen as a distraction, but ad executives tend to disagree, with a caveat that the advertisement should look and feel nothing like the traditional commercial. David Steinberg, Founder and CEO of XL Marketing, says that advertisers need to have a greater goal than simply wanting to get the best bang for their buck out of the purchase of a Super Bowl spot.  ”It should be about the caché of a Super Bowl ad, which really drives the digital campaign,” said Steinberg to Forbes.com.  ”There are really two ways to go about creating an effective Super Bowl ad – focus on humor or touching the heart of the American people.  If you do it right, peoples’ use of Twitter and Facebook during commercial breaks enhance the value of the ad.  But it should not start and end with reach.  Online, you can buy the same audience you reach at the Super Bowl for less than 25% of that amount.” It is possible that brands benefit as they would without spending the excessive amount of money on Super Bowl ads, but Steinberg says that those brands need to have an exceptionally creative (and rare) campaign to get the type of caché that comes with a Super Bowl ad without spending the $4 million+.  One practice that he advises against is the all-too-common lazy approach of companies taking their existing advertisements that people have seen and are tired of, and putting them on the Super Bowl.  Steinberg says that strategy is the biggest waste of money. Overall, the general consensus from advertising agency executives is that the large spend on Super Bowl commercials is worth the price tag…if executed efficiently.  ”Because the Super Bowl is the biggest stage for advertisers to connect with consumers, it really behooves brands to form some sort of connection of affinity – it’s the biggest stage with the most eyeballs watching and these are ads that people aren’t going to miss because they have to go to the bathroom,” added David Angelo, Chief Creative Officer and founder ofDavid & Goliath.  Angelo, whose company has produced spots this year for Kia and describes the company as a “challenger brand,” explains that the rise of digital does not diminish the value of Super Bowl commercials.  Instead, it holds brands accountable for their messages.  ”The social sphere is making it easier for consumers to call B.S. on brands then ever before.  It has given them a platform where they can call you out if they feel like they’re being sold to or you’re not telling the truth or the brand message isn’t fresh.  They’re the first people to say it.”