“No Place Like Home” short film, “The Mixtape: Songs for Africa” charity compilation, corporate productions and local news feature segments.
The Temp – An interactive online property centering around a Los Angeles area temp worker that engages fans on various multimedia platforms.
Has worked for and with some of the biggest names in the entertainment industry such as NBC Universal, Warner Bros, ABC Sports, Bravo Network, Sundance Channel, etc.
Creative Development, Social Media Specialist, Publicity and Marketing, Analytics, Distribution, Budgeting, Scheduling, Project Management, Procurement, Financing, Human Resources, Accounting, Releases and Contracts.
Passionate about scripted comedy and dramas, this former US network television publicity and marketing specialist spent the last several years working on many popular US broadcast programs and is now focusing solely on her first love, producing and content creation. Prior producing and content creation, Christine was a Publicist for FerenComm, a New York City-based television public relations firm. She played an integral role on several accounts, which included Bravo programming such as the Real Housewives franchises and Kell On Earth. In addition, she handled day to day publicity for The Wendy Williams Show and Sundance Channel programming. Christine brought her media relations, strong writing skills and special event expertise to each account. Before joining FerenComm, Christine was a Publicist and Affiliate Relations Manager for Telepictures Productions, a division of Warner Bros. where she worked in Chicago on the court program Judge Mathis and worked with over 190 local affiliates daily. While working at Telepictures, Christine was the Publicity Coordinator for NBC Universal Television in Burbank, California. Her domestic accounts included The Jane Pauley Show, for which she managed market tours for the launch of the syndicated talk show as well as launch parties for the program on the East and West Coast. Christine’s role included brand messaging, affiliate relations and talent coordination. Christine also worked on television’s only reality daytime drama, Starting Over. Highlights included traveling across the country with the cast on a nationwide mall tour to promote the program while helping fans make extraordinary changes in their lives. Christine’s responsibilities at NBC also included the implementation of international publicity and promotion for programs such as Will & Grace, Las Vegas, and The Tonight Show with Jay Leno. She led the planning and execution of NBC Universal Television Distribution’s International Days at which she played host to the international journalists who covered NBC’S overseas programming. She also led the day-to-day PR efforts for The Chris Matthews Show and Rebecca’s Garden. At the onset of her career, Christine was an associate producer for Final Cut Video Productions in Indianapolis, Indiana, and interned an intern at CBS’s 48 Hours in New York City. She has also worked for ABC Sports during Monday Night Football broadcasts as well as their INDY Car and Brickyard 400 races. Christine graduated from Ball State University with a Bachelor of Arts degree in telecommunications with an emphasis in film and theater. She is attending Vancouver Film School (VFS) and will earn her degree in Entertainment Business Management in April of 2012.
This blog is where you can find my thoughts on all the latest trends in television and digital properties.
It’s probably no coincidence that both of those cable operators were sued by Viacom last year for making an assortment of linear channels available for their subscribers to view on iPad. Viacom claimed its affiliate agreements with those companies did not allow them to appropriate the channels outside of TV sets. The company specifically cited the lack of measurement on tablets in their complaint.
Viacom later settled with Cablevision but is still at war with Time Warner Cable over the matter.
Nielsen won’t broaden beyond its current partner-oriented approach to iPads to a broader implementation until the third quarter of the year at the earliest, according to Fuhrer, who also indicated Nielsen will reveal which companies are participating in the trials in the second quarter.
Programmers are antsy for iPad measurement for several reasons. First, the iPad is a key beachhead for viewing in the multichannel world’s ongoing efforts to extend video to digital platforms. If the legal and technical hurdles of the so-called TV Everywhere initiative weren’t daunting enough, the measurement shortcomings don’t make the efforts any more enticing.
Tracking iPad usage is also important because there’s a known correlation between those who bought the device and high-income households who advertisers want to reach most.
Knowing just how much video is being watched on iPads is also crucial given preliminary indications that if tablet use continues to grow at its current pace, it could very well cannibalize viewing on TVs.
Last month, research firm Chadwick Martin Bailey did a survey in which 63% of people who recently watched TV on a tablet said they used a tablet even when they had access to a TV with similar content available.
What little data is available on tablet video consumption is a testament to its potential. Last November, online video specialist Ooyala found that people watch videos nearly 30% longer on tablets than desktops. Nielsen also found that a majority of tablet owners are more than willing to pay for entertainment content, including 51% for movies.
But video on TV and tablet isn’t a clear-cut either-or proposition. The iPad is also emerging as a second-screen companion in the living room. Last October, Nielsen found that 42% of tablet owners use the device daily while watching TV for a range of behaviors that included checking for more info on ads or programs on the air.
Complicating Nielsen’s approach to tablets is that it is just one of several digital platforms where video is being consumed, including online, mobile and connected TVs. Given the same programming is often consumed on two or more of those platforms, another big priority for the company has been consolidating and simplifying the data derived from them.
Nielsen has been endeavoring to combine strictly TV and online for at least five years, most recently as part of its Extended Screen program. Last week, Nielsen and Madison Avenue giant GroupM jointly announced Cross-Platform Campaign Ratings to blend measurement of the mediums. Fuhrer indicated tablet viewing could eventually be added.
And there are still more layers of complexity for Nielsen to navigate here given the different types of viewing that occur between live, VOD and DVR, as well as the growing number of sources for TV programming as brands including Netflix and Hulu vie with traditional networks for eyeballs across devices.
Disney isn’t the only conglom interested in learning more about tablets. Last month, NBCUniversal announced a joint venture with Google and Comscore to study cross-platform media consumption at the upcoming Olympics including tablets, which didn’t exist during the 2010 Games.
Tablet measurement is drawing interest beyond programmers and advertisers to mobile operators and device manufacturers with a host of concerns about tailoring technical specs to consumption habits.
While the iPad is dominating the discussion about the impact of tablets, there are a number of companies intent on eating away at Apple’s market share in the space, from Amazon’s Kindle Fire to the Samsung Galaxy Tab. But so far they aren’t drawing the research focus coming to iPad.
Apple’s rivals are clearly clued into the importance of creating a coherent ecosystem across platforms including the tablet for entertainment consumption. Earlier this month, Google consolidated Android Market with its various content offerings into Google Play, a one-stop shop for buying and consuming on myriad devices.
This isn’t the first pact between Nielsen and ABC on the iPad front. The companies began collaborating two years ago on an app that delivered content to the tablet synchronized to the network’s TV programming, marking one of the first efforts in the resurgence of interactive TV.
Contact Andrew Wallenstein at email@example.com
I can’t help but repeating the phrase, ‘You think?’ in my head after reading this article. The fact that we are still talking about how DVR’s affect how we view TV instead of EMBRACING it at this point is frustrating. That said, it’s an interesting article with some key comments from industry and advertising elite.
By BILL CARTER and BRIAN STELTER
Published: March 4, 2012
For almost a decade, identifying the most popular show on television has been easy: “American Idol,” case closed.
But that conclusion is not a given anymore, and not only because the numbers for “Idol” have plummeted this winter. The daily ratings are in many ways a mirage now, sure to change significantly once the people who time-shift their television viewing are taken into account.
In fact, because of that behavior, there has been a change in the standings. Among the group that determines much of the revenue of the television business, viewers ages 18 to 49, ABC’s “Modern Family” now is the most popular show on television.
No other show on television comes close to that comedy in adding 18- to 49-year-old viewers who record shows and watch them later. So far this season, new episodes of “Modern Family” have grown from a first-day average of 7.1 million viewers in that age group to 10.2 million, counting seven days’ worth of added viewing — a gain of 3.1 million each week, according to Nielsen Research.
These time-shifters, though, cannot be counted in the overnight ratings, where “Modern Family” tends to trail both “Idol” and NBC’s “The Voice.”
The overnights still “set the tone and the agenda” at the television networks, said Charles Kennedy, the head of research for ABC, influencing marketing and programming decisions. But “we’ve had to build in this fudge factor,” Mr. Kennedy said, “when we know — at least with shows that already have a track record — that the total number will be significantly higher.”
When the television season ends in May, what will matter most — for both networks and advertisers — is the ranking of shows once digital video recorder playback is included in the viewership totals. In a comeback victory for scripted shows, original episodes of “Modern Family” will most likely dethrone “Idol” this season as television’s favorite show for those valuable 18-49-year olds — just as the CBS drama “NCIS” will most likely beat “Idol” for the first time for most overall viewers with its original episodes.
“On behalf of all the comedies that were wiped out by ‘Idol’ over the past 10 years, it’s very gratifying,” said Steve Levitan, one of the creators of “Modern Family.”
Total popularity does not perfectly correlate with profitability, however, since the networks all agree to sell ad time based on a metric called “C3.” It measures the average viewing of the commercials within a show within three days of the first broadcast, so it excludes people who wait to watch Wednesday’s “Modern Family” until Sunday or Monday.
Still, advertisers are paying, happily so, for the three days that are counted.
“We do like viewing in the playback mode,” said Tim Spengler, the global chief executive of the media-buying firm Magna Global. “We’re finding that the viewers are more attentive. They are less distracted. They have picked a time when they have the opportunity for more engagement than they would have if their kids were bugging them or they had three things to do at once.”
Mr. Spengler said many advertisers, like fast food restaurants, movie companies and some retailers, do not want to pay for ads beyond three days because what they have offered might be out of date. But, he said, other advertisers recognize there is “some value” to the four additional days of viewing that are not counted by C3 — even among fast-forwarders, because they do see glimpses of messages here and there.
The networks would eventually like to sell ad time based on seven days of viewership, but most viewership happens in the three-day window; Paul Lee, the president of ABC Entertainment, said ABC is able to “capture about 93 percent” of the value of the “Modern Family” audience with the C3 ratings.
“So we can now truly monetize appointment television,” Mr. Lee said. He noted that in the past, Thursday night shows carried the highest prices in television, because advertisers paid a premium to reach people before their movie openings or weekend car sales.
“Now they buy us on Wednesday,” Mr. Lee said, the day that new “Modern Family” episodes are broadcast, “and they know they are going to get Wednesday, Thursday, Friday and Saturday. We get that C3, and so do they.”
DVRs are now in 43 percent of the American households that have televisions. The growth in DVR ownership is starting to slow down, but other manners of time-shifting — like cable video-on-demand views and Internet stream views — are speeding up, making it harder than ever to assess the total popularity of a show.
Three of the four most-watched TV episodes on Hulu in February were “Modern Family” episodes. All together, Mr. Kennedy said, the video-on-demand and Web streams amount to millions of additional viewers for “Modern Family” each week.
Mr. Lee and Mr. Levitan said that the comeback of the scripted shows this season has something to do with the glut of reality competition shows and the fact that, as Mr. Lee put it, “reality television has lost the shock of the new.”
Those competition shows also tend to be recorded and viewed later much less frequently, so the DVR has been a special enhancement to scripted shows. Among the prime-time hits that get a 40 percent or higher lift among 18- to 49-year-olds because of time-shifting: Fox’s “House,” “Glee,” “New Girl,” and “Alcatraz”; ABC’s “Grey’s Anatomy,” “Private Practice” and “Revenge”; and NBC’s “The Office” and “Up All Night.”
“It used to be that you figured even the most ardent fans of a show saw only two of every four episodes,” Mr. Levitan said. “I don’t think that’s the case anymore. I think with DVR and other ways people can catch up more and more, people actually see the entire season of a show.”
Mr. Spengler can support that hypothesis. He said he and his wife found some time last week and sat down for some viewing. “We watched three straight episodes of ‘Modern Family,’ ” he said.
Mr. Levitan has heard that kind of anecdotal support in even bigger numbers this year, in the wake of his show’s sweep of awards at the Emmys and Golden Globes. He was speaking by telephone from Disneyland, where the show was shooting an episode last week.
“It’s all good,” he said. “I’m literally in the middle of the happiest place on earth and I’m not going to lie to you: I’m one of the happiest guys on earth.”