Trinity Mirror’s revenue decreased by 2.3 percent year-on-year to £324.2 million, while profit before tax was down 2.2 percent from £49.3 million to £48.2 million, according to the company’s half-yearly financial report. Trinity reported growth in both digital audience and digital revenue, however, with the number of average monthly unique users growing 91 percent year-on-year to 61.3 million and digital revenue growing 47.5 percent to £14.9 million.
The Financial Times continues to grow its digital subscriber base and is providing an upbeat story amid what is an otherwise challenging time for parent company Pearson which is taking a hit from major restructuring. Pearson’s adjusted operating profits fell 45 percent from £137 million in H1 2013 to £75 million in H1 this year, according to the company's latest interim results.
It’s Q2 results season right now, and everyone’s focusing on the biggest three – Facebook, Apple, and Netflix. But some of the more interesting details lie further into the financial releases. Here are three quick takeaways – one from each company’s results.
Publishers have a payment problem. OK, old news – they have several – but one of them involves trying to get people to pay for content online. But does the solution for getting audiences to stump up the cash before reading content lie with publishers, or will it be the tech industry that provides the answer?
Trinity Mirror’s UsVsTh3m and Ampp3d were some of the first newspaper digital spin-offs that displayed an understanding of the different kinds of content that work on the web, and the different ways people want to consume it. But since their launch, two other UK newspaper brands have gone down a similar route - The Telegraph with Project Babb and The Independent with its newly-launched i100. We caught up with the people driving the projects to see how they're doing.
In certain areas of the online ad industry a bifurcation of approaches can be witnessed – two different techniques at opposite ends of the viewability spectrum. One involves blurring the lines between what original and paid-for content looks like, while the other makes it extremely obvious that what you’re looking at is an ad, so much so that you sometimes can’t escape it.
We get a lot of advertising reports falling into our laps and recently plenty of them have been reporting the consecutive quarterly success of ad and marketing budgets. The latest IPA Bellewether Report, which looks at marketing budgets in Q2 2014, is no different, and reports those marketing budgets are up for the seventh consecutive quarter and represent the second sharpest upward revision in the survey’s 14-year history.
Just as mobile was something the publishing industry once talked about before realising it had already happened, video is quickly turning out to be the same. The online video ad model may not be fully formed yet, and the majority of ad revenues may lie elsewhere, but it's a rapidly evolving field that already has companies taking full advantage of its potential. For legacy publishers wondering if they should expand into the online video space – this is your competition.
In web design, parallax scrolling is a term used to describe the technique where different parts of a webpage move at different speeds as the user scrolls up or down the page. However, sites likes the NYT’s Snowfall are often touted as successful examples of the parallax effect, but they don’t actually incorporate the effect...
It was a few months ago that Rafat Ali, CEO of travel news site Skift, wrote vision for “mediata” – the concept of companies built from the ground up “to take advantage of the organic fusion of media and data.” It’s a model that frees Skift from the tyranny of the ad-driven pageview model causing so many headaches for other publishers, and it appears to be working – the company isn’t yet two years old but Ali says if he wanted to, he could turn a profit by the end of the year. But is it a model anyone else is following?