Mention “Webcasting” and people often conjure up images of pimply teens huddled around PC screens to watch shaky, robotic pictures of rock concerts that black out halfway through the show.

The promise of Webcasting as a promotional tool has been held back by underachieving technology. But as marketers learn to harness the interactive power of the Internet in general, the potential for Webcasting is starting to be realized. From entertainment companies hawking their latest release to retailers looking to gather information on customer habits, Webcasts are enabling marketers to build audiences.

Early attempts at Webcasting were satisfied by adding video images to Web sites that let consumers watch, but not interact. But similar to the use of banner advertisements, marketers realized such relatively stagnant displays did little to capture consumer interest.

“Webcasts used to be simply TV on the PC,” says Marc Scarpa, founder and ceo of Webcast producer JumpCut, New York City. “Now, marketers are more vocal about developing interactive applications. You need interaction with the user. Otherwise, it’s just broadcasting.”

Webcasts may not necessarily pack much marketing punch as simple broadcast images on the PC, but they are tailor-made companions to traditional promotions. “We use Webcasts to fulfill our on-air promotions,” says Mark McIntire, group vp-marketing at cable network VH1, New York City. In December, VH1 made its live MyVH1 Awards show available on its site, giving visitors 360-degree viewing rather than restricting them to the three or four camera angles of the television broadcast. The Webcast drew 5.9 million viewers, while the TV broadcast grabbed 15.2 million. Online viewers could also enter a sweepstakes giving away a Toyota Rav 4 (courtesy of VH1 advertiser Toyota).

One of the biggest advantages to Webcasts is their ability to reach a much larger audience than a traditional promotion with “programming” that would never make it onto a network. In two of the last three years, VH1 has Webcast its “Backyard BBQ,” an annual sweepstakes that sends hot bands to play at private parties for 25 people. The step has been “hugely successful” because it opened up the experience to a larger audience without spoiling the exclusivity of the prize for the winner, says McIntire.

American Express, New York City, showcases its relationship with golf star Tiger Woods by inviting card-carrying attendees of World Golf Championship events to Tiger-led exhibitions held after tournaments. “We thought, if these are so popular, let’s not limit them to the 2,000 or 3,000 people who can fit live, but open it up to the world,” says Greg Luckman, vp at American Express promo shop Momentum’s New York City office. The first Webcast took place last February after a tournament in La Costa, CA.

The AmEx corporate Web site now sports a permanent section in which visitors can view past exhibitions as well as “Tiger Woods Uncut,” an interview with the star. The programming lets viewers answer questions, then watch footage of Tiger’s own answer. “We want to make it as close to interactive as possible,” says Luckman.

A NEW STAPLE

For some entertainment marketers, Webcasts have become an automatic part of the media arsenal. “We do Webcasts for the openings of all our films,” says Audrey Marco, vp-general manager at Sony Pictures Digital Entertainment, Los Angeles.

For last December’s launch of The 6th Day starring Arnold Swarzenegger, Sony teamed with General Motors on a two-pronged viral marketing campaign with a month’s worth of Webcasts. Consumers requested an e-mail from GM.com with a streaming video clip from the film and a sweepstakes entry to win a 2001 GMC Yukon. Consumers who passed the e-mail on to three friends got a second sweepstakes entry.

Then eGM, the auto maker’s e-commerce unit, let GM.com visitors download digital trading cards containing clips from the movie. Downloads earned fans coupons for 15 percent off tickets and merchandise at the Sony Pictures Studio Store, and automatic entry into a sweeps offering a private screening for 50 people, a Sony home entertainment center, DVD players, Sony Discmans, and The 6th Day posters.

However, good Webcasting can’t save bad programming. Hoping that lightning would strike twice with The Blair Witch Project — a fall 1999 independent film that succeeded largely due to some of the most inventive Internet marketing as-yet created — New York City-based Artisan Entertainment went back to the Web well for Book of Shadows: Blair Witch 2. For the sequel’s October 2000 release, Artisan commissioned JumpCut to create a “Blair Witch Webfest,” an unprecedented 72 hours of live programming designed to plug the film and mine the horror flick and science-fiction communities for potential projects.

Programming included online chats with the cast and director of Book of Shadows and The Exorcist star Linda Blair, and a Yahoo-hosted sweepstakes giving away tickets to the film’s premiere in Los Angeles. The Webfest drew 100,000 unique visitors in the first few hours alone. Although the movie was a box-office failure, footage from the Webfest still might be used for a book or a DVD.

“If the film had done better, the site probably would still be up,” says Scarpa.

NO MORE QUICK FIXES

Early Internet advertising was lauded as cheap and easy to produce. Alas, it was also ineffective. A quality Webcast requires the same preparation — and budget — as a TV campaign. “This is definitely large-scale production,” says Sony’s Marco. “But the population that wants to consume real-time events online is increasing, and the pay-off easily justifies the expense.”

Pricing varies from $10,000 to a couple of million dollars, says Scarpa. “We charged one company a quarter of a million dollars for one hour of content.”

While JumpCut produced the Blair Witch Webfest in just over a month, Scarpa recommends longer lead times. “It should take [at least] three to six months for a combined online and offline campaign.”

Enlisting marketing help from large portals can drive traffic, but not always a qualified audience. “Yahoo and America Online are good volume partners, but you get a higher return with niche marketing,” says Scarpa. Enlist fan sites and other grassroots communities to produce viral assistance. To promote the most recent album from rock band Tool, for instance, JumpCut hosted a concert that linked to a bevy of fan sites. And no, the viewers were not all pimply teens.

Mention “Webcasting” and people often conjure up images of pimply teens huddled around PC screens to watch shaky, robotic pictures of rock concerts that black out halfway through the show.

The promise of Webcasting as a promotional tool has been held back by underachieving technology. But as marketers learn to harness the interactive power of the Internet in general, the potential for Webcasting is starting to be realized. From entertainment companies hawking their latest release to retailers looking to gather information on customer habits, Webcasts are enabling marketers to build audiences.

Early attempts at Webcasting were satisfied by adding video images to Web sites that let consumers watch, but not interact. But similar to the use of banner advertisements, marketers realized such relatively stagnant displays did little to capture consumer interest.

“Webcasts used to be simply TV on the PC,” says Marc Scarpa, founder and ceo of Webcast producer JumpCut, New York City. “Now, marketers are more vocal about developing interactive applications. You need interaction with the user. Otherwise, it’s just broadcasting.”

Webcasts may not necessarily pack much marketing punch as simple broadcast images on the PC, but they are tailor-made companions to traditional promotions. “We use Webcasts to fulfill our on-air promotions,” says Mark McIntire, group vp-marketing at cable network VH1, New York City. In December, VH1 made its live MyVH1 Awards show available on its site, giving visitors 360-degree viewing rather than restricting them to the three or four camera angles of the television broadcast. The Webcast drew 5.9 million viewers, while the TV broadcast grabbed 15.2 million. Online viewers could also enter a sweepstakes giving away a Toyota Rav 4 (courtesy of VH1 advertiser Toyota).

One of the biggest advantages to Webcasts is their ability to reach a much larger audience than a traditional promotion with “programming” that would never make it onto a network. In two of the last three years, VH1 has Webcast its “Backyard BBQ,” an annual sweepstakes that sends hot bands to play at private parties for 25 people. The step has been “hugely successful” because it opened up the experience to a larger audience without spoiling the exclusivity of the prize for the winner, says McIntire.

American Express, New York City, showcases its relationship with golf star Tiger Woods by inviting card-carrying attendees of World Golf Championship events to Tiger-led exhibitions held after tournaments. “We thought, if these are so popular, let’s not limit them to the 2,000 or 3,000 people who can fit live, but open it up to the world,” says Greg Luckman, vp at American Express promo shop Momentum’s New York City office. The first Webcast took place last February after a tournament in La Costa, CA.

The AmEx corporate Web site now sports a permanent section in which visitors can view past exhibitions as well as “Tiger Woods Uncut,” an interview with the star. The programming lets viewers answer questions, then watch footage of Tiger’s own answer. “We want to make it as close to interactive as possible,” says Luckman.

A NEW STAPLE

For some entertainment marketers, Webcasts have become an automatic part of the media arsenal. “We do Webcasts for the openings of all our films,” says Audrey Marco, vp-general manager at Sony Pictures Digital Entertainment, Los Angeles.

For last December’s launch of The 6th Day starring Arnold Swarzenegger, Sony teamed with General Motors on a two-pronged viral marketing campaign with a month’s worth of Webcasts. Consumers requested an e-mail from GM.com with a streaming video clip from the film and a sweepstakes entry to win a 2001 GMC Yukon. Consumers who passed the e-mail on to three friends got a second sweepstakes entry.

Then eGM, the auto maker’s e-commerce unit, let GM.com visitors download digital trading cards containing clips from the movie. Downloads earned fans coupons for 15 percent off tickets and merchandise at the Sony Pictures Studio Store, and automatic entry into a sweeps offering a private screening for 50 people, a Sony home entertainment center, DVD players, Sony Discmans, and The 6th Day posters.

However, good Webcasting can’t save bad programming. Hoping that lightning would strike twice with The Blair Witch Project — a fall 1999 independent film that succeeded largely due to some of the most inventive Internet marketing as-yet created — New York City-based Artisan Entertainment went back to the Web well for Book of Shadows: Blair Witch 2. For the sequel’s October 2000 release, Artisan commissioned JumpCut to create a “Blair Witch Webfest,” an unprecedented 72 hours of live programming designed to plug the film and mine the horror flick and science-fiction communities for potential projects.

Programming included online chats with the cast and director of Book of Shadows and The Exorcist star Linda Blair, and a Yahoo-hosted sweepstakes giving away tickets to the film’s premiere in Los Angeles. The Webfest drew 100,000 unique visitors in the first few hours alone. Although the movie was a box-office failure, footage from the Webfest still might be used for a book or a DVD.

“If the film had done better, the site probably would still be up,” says Scarpa.

NO MORE QUICK FIXES

Early Internet advertising was lauded as cheap and easy to produce. Alas, it was also ineffective. A quality Webcast requires the same preparation — and budget — as a TV campaign. “This is definitely large-scale production,” says Sony’s Marco. “But the population that wants to consume real-time events online is increasing, and the pay-off easily justifies the expense.”

Pricing varies from $10,000 to a couple of million dollars, says Scarpa. “We charged one company a quarter of a million dollars for one hour of content.”

While JumpCut produced the Blair Witch Webfest in just over a month, Scarpa recommends longer lead times. “It should take [at least] three to six months for a combined online and offline campaign.”

Enlisting marketing help from large portals can drive traffic, but not always a qualified audience. “Yahoo and America Online are good volume partners, but you get a higher return with niche marketing,” says Scarpa. Enlist fan sites and other grassroots communities to produce viral assistance. To promote the most recent album from rock band Tool, for instance, JumpCut hosted a concert that linked to a bevy of fan sites. And no, the viewers were not all pimply teens.

Mention “Webcasting” and people often conjure up images of pimply teens huddled around PC screens to watch shaky, robotic pictures of rock concerts that black out halfway through the show.

The promise of Webcasting as a promotional tool has been held back by underachieving technology. But as marketers learn to harness the interactive power of the Internet in general, the potential for Webcasting is starting to be realized. From entertainment companies hawking their latest release to retailers looking to gather information on customer habits, Webcasts are enabling marketers to build audiences.

Early attempts at Webcasting were satisfied by adding video images to Web sites that let consumers watch, but not interact. But similar to the use of banner advertisements, marketers realized such relatively stagnant displays did little to capture consumer interest.

“Webcasts used to be simply TV on the PC,” says Marc Scarpa, founder and ceo of Webcast producer JumpCut, New York City. “Now, marketers are more vocal about developing interactive applications. You need interaction with the user. Otherwise, it’s just broadcasting.”

Webcasts may not necessarily pack much marketing punch as simple broadcast images on the PC, but they are tailor-made companions to traditional promotions. “We use Webcasts to fulfill our on-air promotions,” says Mark McIntire, group vp-marketing at cable network VH1, New York City. In December, VH1 made its live MyVH1 Awards show available on its site, giving visitors 360-degree viewing rather than restricting them to the three or four camera angles of the television broadcast. The Webcast drew 5.9 million viewers, while the TV broadcast grabbed 15.2 million. Online viewers could also enter a sweepstakes giving away a Toyota Rav 4 (courtesy of VH1 advertiser Toyota).

One of the biggest advantages to Webcasts is their ability to reach a much larger audience than a traditional promotion with “programming” that would never make it onto a network. In two of the last three years, VH1 has Webcast its “Backyard BBQ,” an annual sweepstakes that sends hot bands to play at private parties for 25 people. The step has been “hugely successful” because it opened up the experience to a larger audience without spoiling the exclusivity of the prize for the winner, says McIntire.

American Express, New York City, showcases its relationship with golf star Tiger Woods by inviting card-carrying attendees of World Golf Championship events to Tiger-led exhibitions held after tournaments. “We thought, if these are so popular, let’s not limit them to the 2,000 or 3,000 people who can fit live, but open it up to the world,” says Greg Luckman, vp at American Express promo shop Momentum’s New York City office. The first Webcast took place last February after a tournament in La Costa, CA.

The AmEx corporate Web site now sports a permanent section in which visitors can view past exhibitions as well as “Tiger Woods Uncut,” an interview with the star. The programming lets viewers answer questions, then watch footage of Tiger’s own answer. “We want to make it as close to interactive as possible,” says Luckman.

A NEW STAPLE

For some entertainment marketers, Webcasts have become an automatic part of the media arsenal. “We do Webcasts for the openings of all our films,” says Audrey Marco, vp-general manager at Sony Pictures Digital Entertainment, Los Angeles.

For last December’s launch of The 6th Day starring Arnold Swarzenegger, Sony teamed with General Motors on a two-pronged viral marketing campaign with a month’s worth of Webcasts. Consumers requested an e-mail from GM.com with a streaming video clip from the film and a sweepstakes entry to win a 2001 GMC Yukon. Consumers who passed the e-mail on to three friends got a second sweepstakes entry.

Then eGM, the auto maker’s e-commerce unit, let GM.com visitors download digital trading cards containing clips from the movie. Downloads earned fans coupons for 15 percent off tickets and merchandise at the Sony Pictures Studio Store, and automatic entry into a sweeps offering a private screening for 50 people, a Sony home entertainment center, DVD players, Sony Discmans, and The 6th Day posters.

However, good Webcasting can’t save bad programming. Hoping that lightning would strike twice with The Blair Witch Project — a fall 1999 independent film that succeeded largely due to some of the most inventive Internet marketing as-yet created — New York City-based Artisan Entertainment went back to the Web well for Book of Shadows: Blair Witch 2. For the sequel’s October 2000 release, Artisan commissioned JumpCut to create a “Blair Witch Webfest,” an unprecedented 72 hours of live programming designed to plug the film and mine the horror flick and science-fiction communities for potential projects.

Programming included online chats with the cast and director of Book of Shadows and The Exorcist star Linda Blair, and a Yahoo-hosted sweepstakes giving away tickets to the film’s premiere in Los Angeles. The Webfest drew 100,000 unique visitors in the first few hours alone. Although the movie was a box-office failure, footage from the Webfest still might be used for a book or a DVD.

“If the film had done better, the site probably would still be up,” says Scarpa.

NO MORE QUICK FIXES

Early Internet advertising was lauded as cheap and easy to produce. Alas, it was also ineffective. A quality Webcast requires the same preparation — and budget — as a TV campaign. “This is definitely large-scale production,” says Sony’s Marco. “But the population that wants to consume real-time events online is increasing, and the pay-off easily justifies the expense.”

Pricing varies from $10,000 to a couple of million dollars, says Scarpa. “We charged one company a quarter of a million dollars for one hour of content.”

While JumpCut produced the Blair Witch Webfest in just over a month, Scarpa recommends longer lead times. “It should take [at least] three to six months for a combined online and offline campaign.”

Enlisting marketing help from large portals can drive traffic, but not always a qualified audience. “Yahoo and America Online are good volume partners, but you get a higher return with niche marketing,” says Scarpa. Enlist fan sites and other grassroots communities to produce viral assistance. To promote the most recent album from rock band Tool, for instance, JumpCut hosted a concert that linked to a bevy of fan sites. And no, the viewers were not all pimply teens.