Monday, May 11, 2020

How Nickelodeon is Using Socialive to Make Capturing Homemade Video Child’s Play

Nickelodeon uses software for ‘Kids’ Choice’ stars

You don’t ask Captain America to upload his own video.

A lot of shows are being made from performers’ homes. That should make a star out of Socialive, whose software makes it easy to send high-quality video to the cloud and for producers to edit the material into programs.

Socialive helped Nickelodeon shoot stars such as Victoria Justice remotely for the 2020 Kids’ Choice Awards. Nickelodeon

Socialive burst onto the small screen when Nickelodeon used it to help produce #KidsTogether, The Nickelodeon Town Hall, an hour-long special hosted by actress Kristen Bell with a performance by Alicia Keys and appearance by a dozen doctors and celebrities.

The participants were all at home, and Nickelodeon needed to quickly come up with a way to handle feeds from all those locations. Business people and families had turned to Zoom to conduct multiperson video calls, but that wasn’t good enough.

“I don’t want to take a Zoom and put it on television,” Nickelodeon Vice President (VP) of Digital Studios Luke Wahl told Broadcasting & Cable. Someone at Viacom discovered Socialive, which was available to take multiple feeds and send each on separately to the cloud, where they could be easily retrieved via a virtual control room.

“When they put it in front of me, I immediately thought that this was the right thing for us because the platform can record individual ISO cameras for us,” Wahl said. “And that’s something that’s really invaluable.”

Socialive’s system was simple enough for celebrities to access without sending specialized equipment to their homes. So when Nickelodeon was producing the 2020 Kids’ Choice Awards and needed to coordinate an appearance by Marvel’s Avengers, Socialive’s system again was invaluable. “I don’t have to ask someone, ‘Hey, can you send me files or upload this to Dropbox?’ ” Wahl said.

In a changing TV world, technology evolves fast, but Socialive’s approach is “is still really interesting,” Wahl said, noting that the company offers hand-on help with its system and has already iterated it to adapt to things Nickelodeon needed.

“We’ve had a great relationship. It’s a useful and valuable tool for us and we’re looking forward to using it again,” he said. “I’m really lucky that we found them.”

The sudden brush with showbiz is a bit of a surprise for Socialive’s founder and Chief Executive Officer (CEO), David Moricca. A Harvard Law School grad and former McKinsey & Co. associate, Moricca was working at Scholastic, trying to come up with some entrepreneurial ideas. He started Mixify, a streaming platform for electronic music artists that allowed DJs to have interactive gigs in clubs in faroff cities. Socialive grew out of Mixify as the company pivoted to video and took a more scalable, enterprise approach.

Moving Beyond B2B

Socialive was originally set to help companies like Salesforce, Pfizer and Walmart to produce quality video for senior executives who wanted to be on internal platforms and social media like Facebook Live and LinkedIn Live.

Moricca said Socialive is profitable. The company had already doubled its business in 2019 to 2020 and is hiring sales, marketing and engineering people. This year business has exploded. It’s up 84% in terms of numbers of customers and 145% in terms of revenue, per Moricca.

Socalive is privately owned and financed without venture capital. It is already on the radar of larger firms interested in acquiring it.

“It just kind of exploded and accelerated in the last six to eight weeks,” he said. “We’ve proven that what we’ve built works really well for these media and entertainment companies as well,” he said. Socialve is working on other projects at ViacomCBS and is talking to other media companies.

Moricca watched the NFL Draft, which was produced virtually with commisisoner Roger Goodell in his basement, new National Football League players all over the country and ESPN commentators working from home. “I’m sure we could have done that more cost-effectively than they did,” he said. “That was not a low-cost production.”

“It’s interesting how the media entertainment world is embracing the new reality,” Moricca said, noting it really isn’t a choice.

The big plus to showing celebrities and experts in their home is that they project authenticity. “Authenticity wins in the world of marketing. It works so much better from a lead generation perspective and from an engagement perspective, than very overly produced content.”

Moricca acknowledged that while viewers expect a certain level of video quality, shooting from home can humanize the Jimmy Fallons and Conan O’Briens of the world.

“I think it’s actually going to get them closer to their fans,” he said. “This is not a short-term change. It’s becoming very clear to everyone across industries that there’s a paradigm shift beginning to happen.

“People have realized you can produce high-quality content faster,” he said. “I don’t think the pendulum will swing all the way in this direction, but I do think there's going to be a lot of ways traditional video-from-the-field capture is going to change.”

More Nick: Nickelodeon Greenlights 'Group Chat: The Show' and 'Game Face'; To Premiere Summer 2020!
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Machines A.T.O. Premieres Female Empowerment Song “Like Girls” at Nickelodeon’s Kids’ Choice Awards 2020: Celebrate Together Special

Collective consciousness songwriting entity Machines A.T.O. has debuted its female empowerment-themed song “Like Girls (feat. Kali J).” The song was recently licensed by Barbie for a Nickelodeon-produced campaign that was featured during Nickelodeon’s Kids’ Choice Awards 2020: Celebrate Together special on May 2nd.

Produced and released by full-service music company Groove Guild, the track is a collaboration between songwriter Kali J. and artist persona Machines A.T.O.. Featured in the Barbie commercial, as well as on the Kids’ Choice Awards broadcast, is 12 year-old DJ phenom, DJ Livia, who can be seen and heard scratching the inspirational message “You Can Be Anything” over top of the song. “Like Girls” is now available on all major streaming platforms and a full length music video is in production and slated for release later this month.

“Like Girls (feat. Kali J)” is a modern, hard-hitting production with genuine, empowering lyrics. Kali J’s lyrics take a stance that often gets lost in the pop culture version of empowerment: Girls put in the work and get extraordinary results.

“I wanted to write a song that was inspiring to girls and women that are trying to shake up their industries,” Kali J said, “and give them the confidence to be the bosses that they are.”

In the spot, that message is personified by a scratch performance from 12-year-old DJ Livia, a rising star who has already been featured on The Ellen DeGeneres Show and has an impressive display of celebrity endorsements on her site including Dwayne Johnson, Kanye West, Jay Z and many more.

“We feel this is very relevant and important in the world today,” Groove Guild Founder Al Risi said, noting that “this whole project was inspired by the lack of music with a well-rounded message of true inner female empowerment that doesn’t hinge on physical appearance or what others think of you. The brief to female topline artists was very simple…’what advice would you give to your 12-year-old self.’”

“I know a lot of girls who are afraid to pursue their true passion in life because it’s not what’s expected from them,” Kali J said. “It’s important for girls to not put their dreams on the back burner.”

“Most ‘girl power’ or ‘female empowerment’ songs talk about being physically attractive or about being in (or out) of a relationship,” Groove Guild Creative Director Paul Riggio adds. “Those songs are empowering, but they don’t address societal pressures for women to avoid specific professions. We wanted to provide a platform for female songwriters to create music that inspires young women to push past old-school social norms. The distillation of the album concept is best summed up by the Barbie campaign theme of ‘You Can Be Anything.’”.”

Along with “Like Girls,” Groove Guild is releasing a collection of uplifting tracks that remind girls of their inner power. Each track features female writers, rappers and top liners; female voices drive the lyrics, tone and rhythm forward.

Listen to “Like Girls”:

Watch the Barbie-Nickelodeon:

More Nick: Highlights From 'Nickelodeon’s Kids’ Choice Awards 2020: Celebrate Together' Special!

Original source: Vents Magazine.
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Young Students from Kazzajazz Modern Dance Studio at Coniston to Appear 'Ready Set Dance' Season 2

Pre-schoolers from an Illawarra, New South Wales dance studio will make their television debut this week.

Lilliana Snape, Thomas Mortyn, Adithya Narasimhan, Kasey Kexin Xu and Priya Crisafi, pictured with other cast members, will feature in the new season of the show. Picture: Supplied

Kazzajazz Modern Dance Studio at Coniston students will appear in season two of Nickelodeon's Australian produced pre-school series Ready Set Dance.

The show is based on a class-based dance program for pre-schoolers also called 'Ready Set Dance'.

Each of the season's 15 episodes will run for seven minutes, featuring a performance from the Kid Crew as part of a story-driven, mini-musical set to an originally composed soundtrack with musical cues.

Kids at home are encouraged to jump up and learn the moves of the day, practising throughout the show alongside the Kid Crew.

YOUNG STARS: Kasey Kexin Xu and Ai Kamikura on the set of Nickelodeon's pre-school series Ready Set Dance. Picture: Supplied

To end they can join their fellow pre-schoolers onscreen for a pre-school dance party. This is where you can expect to see some familiar faces from Kazzajazz.

The students are Lilliana Snape, Thomas Mortyn, Adithya Narasimhan, Kasey Kexin Xu and Priya Crisafi.

Studio principal Karen Lees the the Illawarra Mercury that they were excited to have their pre-schoolers dancing on Nick Jr. and be part of the dance program.

"It was exciting for the kids to go to the Nickelodeon studios in Sydney to film the show," she said.

The show began airing daily at 8.30am on Monday 11th May 2020 on Nick Jr. Australia.

The students filmed their parts in January.

The Coniston school's students aren't the only Illawarra performers to be featured on the show.

Woonona teenager Arielle Goedde's is also starring in the second season of Ready Set Dance.

Visit for information about READY SET DANCE dance classes for preschoolers.

Online at and on the Nick Jr. App, parents and children can find out more about Ready Set Dance, as well as sing and dance-along to music videos and watch short-form video clips from the series. Parents can also Like the official Nick Jr. Australia and New Zealand Facebook and Instagram pages for the latest Nick Jr. news, highlights, video clips and more.

Watch READY SET DANCE season one on Nick Jr. channels globally!

More Nick: Australian-Produced Preschool Dance Series "Ready Set Dance" Goes International on Nick Jr.; Show Greenlit for Season Two!

Additional source: Wikipedia.
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May 2020 on Nickelodeon Arabia: SpongeBob Pop-Up Channel | Movies | Villain Extravaganza

This May (مايو), Nickelodeon Arabia (جَزِيرَةُ الْعَرَب) will be airing:

SpongeBob SquarePants Pop-Up Channel

From Friday, May 29 until Saturday, June 13, everyone's favourite funny yellow sponge is getting his own pop up channel on Nickelodeon! Over the 16 days, SpongeBob and his Bikini Bottom friends will appear in 141 episodes over 12 seasons, which totals 70 hours of quirky salt water viewing.

Nickelodeon Movies

Between Friday, May 22 and Monday, May 25, fans can immerse themselves in a high-stakes adventure in Legends of the Hidden Temple (ليجندز أوف ذا هيدن تيمبل), hide behind a cushion watching The Boy Who Cried Werewolf (ذا بوي هو كرايد ويروولف) and find out how Xander (Jace Norman) solves a mysterious case to find his dad when he goes missing in Bixler High Private Eye (بيكسلر هاي برايفت آي).

Villain Extravaganza

Bu there's more. On Saturday, May 30 and Sunday, May 31, Nicktoons is focusing on all things villainous. The two-day villain extravaganza will show episodes from The Fairly OddParents (ذا فيرلي أود بيرنتس), Kung Fu Panda: Legends of Awesomeness (كونغ فو باندا: ليجندز أوف اوسمنيس), The Penguins of Madagascar (ذا بنغوينز أوف مدكشقر) and SpongeBob SquarePants (سبونجبوب سكويربانتس).

So, grab the gang, turn down the lights and pass the popcorn.

The Nickelodeon Network is available on OSN in the Middle East.

In additional news, Nickelodeon Arabia (جَزِيرَةُ الْعَرَب) recently premiered It's Pony (إتس بوني)!

More Nick: ViacomCBS and OSN Offer Free Access to Nickelodeon Play App in the Middle East!

Original source: Time Out Dubai; Additional source: Google Translate.
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ViacomCBS and E.W. Scripps Join Project OAR

The E.W. Scripps Company and an expanded group from ViacomCBS have joined Project OAR, the consortium working to recommend open standard protocols for TV programmers and platforms to easily manage, sell and deliver more relevant advertising experiences across linear and on-demand formats on smart TVs.

The two media network groups join the consortium on the heels of the group reaching consensus for the measurement and technical specifications for the management and delivery of addressable ads across all forms of television.

At this year’s CES event in January, members of Project OAR showcased specs around linear dynamic ad insertion, ad engine integration capabilities with TV’s major ad delivery and enablement engines, and since then they have been pushing software and firmware updates to over 14 million smart TVs.

The consortium, which counted CBS Networks as a standalone founding member prior to merging with Viacom, now has ViacomCBS’ entire TV footprint represented, including Nickelodeon, BET, CMT, Comedy Central, MTV, Paramount Network, TV Land, VH1 and more. “We know the future of TV requires a smarter, more relevant approach to ad experiences,” said Mike Dean, SVP of advanced advertising at ViacomCBS, and one of the founding executives of OAR. “Giving the entire ViacomCBS portfolio representation inside of OAR underscores the serious investment we are making in the future of better programming and ad experiences.”

Additionally, Scripps, which operates 60 local TV stations in 42 markets across the US, is implementing addressable advertising across a growing footprint of local OTT apps and joins OAR at a time when local broadcast advertising is undergoing a transformation. “Addressable advertising is a natural fit for Scripps because we have been early to understand and monetise digital and other technology platforms,” said Kerry Oslund, Scripps vice president of strategy and business development. “Supporting open standards for dynamic advertising in 1.0 and 3.0 broadcast television is a natural extension of our work as well as our mission to serve our audiences and advertisers on every media platform. We also are pleased to partner with the country’s most watched and respected TV companies and ad agencies on this initiative.”

OAR network members recently showcased the technology standard working on a frame-perfect basis in live linear TV with a variety of technology and ad engine companies, including FreeWheel, Google Ad Manager, Xandr, Innovid, INVIDI and Crystal, all successfully utilizing the open standard for dynamic ad insertion.

The consortium also counts Vizio, Inscape, Disney's Media Networks, Comcast's FreeWheel, NBCUniversal, WarnerMedia, Discovery and AMC Networks among its founding members.

Sources: Advanced Television, FierceVideo.

From Forbes:

Why Addressable Advertising Is Finally Getting Closer To Mass Adoption

Talk to most people in the television industry and they’ll tell you that addressable advertising is all but inevitable.

It’s the “when will that actually happen” part they’re not too sure about.

Addressable advertising, where different households watching the same program are served different ads, has been around for a while now and people have been predicting its inevitability for almost as long

It was initially available through certain MVPDs, both on the two minutes per hour they got from the networks, and on their VOD inventory.

It’s also available on every app in the fast-growing OTT category, which makes sense given that OTT inventory is almost exclusively watched on a time-shifted basis.

Where it hasn’t been available however, is on network linear TV. Which, even with the shift to OTT viewing, is still where the overwhelming majority of Americans see TV commercials.

The “why” on that is a great example of the challenges facing the industry today.

It’s not that it's technologically impossible to run addressable advertising on linear network TV, or that the data isn’t there to target the ads properly.

MVPDs and vMVPDs know exactly which households are watching which shows at any given moment and could easily use the same software that allows them to run addressable ads during their own two minutes of ad time to run addressable during the networks own ad pods.

The problem, rather, is that the networks do not trust the MVPDs to have control over such granular data about their viewers and their advertising because (a) they don’t want to give the MVPDs any potential advantage during the next round of carriage fee negotiations and (b) networks and MVPDs are like cats and dogs and are just not wired to work together.

Seeing that impasse, several players have attempted to find a way around it.

There’s Project OAR, a consortium helmed by VIZIO, that is creating a series of standards around inserting ads as overlays using ACR data from smart TVs.

Nielsen has a similar project in the works, also using smart TV overlays.

Both solutions are in the test phase right now (and have been since January) and both have recent announcements that indicate the industry sees what they’re doing as a good idea and is getting behind them.

Nielsen welcomed Univision to the beta test they are currently running for their solution, and Project OAR, which is actually running a live beta, added on the Scripps group of local stations, as well as the entire ViacomCBS network roster, a list that includes BET, CMT, Comedy Central, MTV, Nickelodeon, Paramount Network, TV Land and VH1. (Founding member CBS was already on board.)

And in related news, Ampersand, which is jointly owned by Comcast, Charter and Cox, announced that it would be selling Verizon FIOS’s addressable inventory.

(This is of note as it makes it ever so slightly easier for advertisers to reach their entire audience with a single buy, which is, after all, the ultimate goal.)

Back to linear however, the Project OAR announcement was significant in that Scripps is one of the first local broadcasting groups to sign up for the consortium.

Scripps, which operates 60 local TV stations in 42 markets across the U.S., is implementing addressable advertising across a growing footprint of local OTT apps and joins OAR at a time when local broadcast advertising is undergoing a transformation, as well as a renaissance of sorts, as viewers turn to local station news shows to get updates on the Covid 19 pandemic.

“Addressable advertising is a natural fit for Scripps because we have been early to understand and monetize digital and other technology platforms,” said Kerry Oslund, Scripps vice president of strategy and business development.

“We consider this just another tool in our tool set. Depending on what the advertiser or the agency is trying to accomplish, we want to give them the right set of tools to work with. If a high degree or a higher degree of addressability is what they need, then we want to be able to offer that.”

Addressable and the Pandemic

If there is any upside to the pandemic, it’s that it has forced many industries to more rapidly implement innovations they’d been dragging their feet about, the television industry included.

For TV, addressable advertising will be particularly important as we are likely to go through what’s being called “the Hammer and the Dance” where different states and regions slowly open up and are then shut down again by new outbreaks. This means that advertisers will need to be able to target different ads to different regions and addressable is the best way for them to do so.

The other impetus for addressable has been the rapid explosion in ad-supported OTT viewing, both on the FASTS (free ad-supported streaming TV services) and the Flixes (the multibillion dollar subscription services.)

Marketers who want to be able to maintain some level of consistency in their ad buys and avoid having to deal with dozens of vendors, are looking for a way to make that happen and the more places addressable advertising is available—including linear—the easier it is for them to make that happen.


More Nick: ViacomCBS and Google Announce Expanded Distribution Agreement!
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Nick Jr +1 Italy to Host '100% PAW Patrol' Pop-Up Channel in May 2020

The PAW Patrol is on a roll, and this May, will be leaping onto Nick Jr +1 in Italy (Italia) for a pawsome PAW Patrol pop-up channel!

Titled “100% PAW Patrol”, the PAW Patrol pop-up channel will air episodes from all six seasons of Nickelodeon's beloved CG-animated series 24/7 between Monday 11th - Sunday 17th May 2020.

“100% PAW Patrol” will also feature the Italian premiere of the all-new PAW Patrol "Mighty Pups" special, which was previouslly released in cinemas across the country in December 2019, on Friday 15th May 2020!

From Libero Quotidiano:

Intanto da lunedì 11 a domenica 17 Maggio, in esclusiva su Nick Jr +1, Sky 604, arriva “100% PAW Patrol”, un canale speciale che trasmetterà per tutto il giorno, 24 ore su 24, tutte le sei stagioni della mitica squadra di cuccioli esperti in salvataggi, capitana dal leader Ryder. Andraà in onda anche l'atteso speciale, uscito a Natale 2019 al cinema, da 45 minuti “Mighty Pups” che verrà trasmesso per la prima volta in televisione dal 15 maggio.


Additionally this May, Super!, Nickelodeon's sister kids channel in Italy will be airing:

I fantasmi di casa Hathaways
Nuova stagione in prima Tv
Dal 4 maggio, dal lunedì al venerdì alle 15.05

Quando Michelle Hathaway e le sue due figlie, Taylor e Frankie, si trasferiscono da New York a New Orleans, scoprono che la loro nuova casa è ancora abitata da Ray Preston e i suoi due figli, Miles e Louie. Le Hathaway così dovranno convivere insieme ai fantasmi Preston sotto lo stesso tetto.

Game Shakers
Dall’11 maggio, dal lunedì al venerdì alle 19.05

Babe e Kenzie si trovano a lavorare insieme a un progetto di scienze per la scuola. È così che creano il loro primo videogioco, Sky Whale, che appena messo online ottiene subito un enorme successo. Le due ragazzine, insieme all’amico Hudson, decidono quindi di fondare una società che crea videogiochi, la Game Shakers.

Ned Scuola di Sopravvivenza
Dal 18 maggio, dal lunedì al venerdì alle 11

Ned Bigby, un ragazzo spesso vittima delle prese in giro dei suoi coetanei, ha intrapreso la sfida di scrivere una guida di sopravvivenza per la scuola, rivolta a tutti i ragazzi. Allo stesso tempo, deve riuscire a far fronte alla propria vita scolastica, tra insufficienze e scherzi ai professori, aiutato dagli amici Cookie, un genio dell'informatica, e Moze, ragazza brillante sia nello sport sia nello studio.

Let’s Movie!
Stunt dedicato al cinema

I venerdì sera di Super! nel mese di maggio sono dedicati al cinema per tutta la famiglia. Il 1° sarà in onda La Tela di Carlotta, l’8 maggio, Surf’s Up: Il re delle onde, e infine, il 15 maggio, Surf’s Up 2: Uniti per vincere.



-- Rai YoYo will be airing brand new episodes of Peppa Pig season eight weekdays at 8.15 and 10.30 and Sundays at 15:15 from Sunday 17th May 2010!

Peppa Pig
Ottava stagione
Tutti i giorni alle 17, dal lunedì al venerdì alle 8.15 e alle
10.30, la domenica alle 15.15

La serie, ormai divenuta un cult, è stata trasmessa in 180 paesi e dopo i primi riconoscimenti nel 2005 – Pulcinella Award 2005, Annecy Grand Prize 2005, Bradford Animation Festival Award 2005, Bafta Children’s Awards 2005 e 2011 – ha al suo attivo nomination e premi nei maggiori festival internazionali. I nuovi episodi inediti del 2020 mettono in scena con la consueta leggerezza temi e situazioni di grande attualità.

-- Rai Gulp will be airing Rabbids Invasion Mondays to Thursdays at 7.35, 12.55 and 18.20:

Rabbids Invasion
Serie in prima Tv
Tutti i giorni alle 7.35, 12.55 e 18.20 (tranne il venerdì)

I Rabbids sono dispettosi coniglietti bianchi arrivati dallo spazio a bordo di un razzo-sottomarino giallo in cerca di un paradiso alimentare, ma sembrano sbarcati sulla Terra esclusivamente allo scopo di creare il caos. Capricciosi, irascibili e superficiali, disdegnano pizza e gelato, ma vanno matti per i legumi, e vivono incredibili avventure con i loro modernissimi mezzi di locomozione.


From Orgoglio Nerd:

I PAW Patrol ora sono operativi 24 ore su 24

Debutta un pop-up channel dedicato all'amatissima serie d'animazione

I PAW Patrol sono pronti a entrare in servizio tutti i giorni, tutto il giorno. Proprio oggi debutta infatti sulla piattaforma di Sky un canale interamente dedicato all’amatissima serie d’animazione. Per 7 giorni, fino al 17 maggio quindi, il canale 604 Nick Jr +1 sarà infatti interamente dedicato agli eroici cuccioli, con una maratona completa dello show, per la gioia dei più piccoli.

100% PAW Patrol, al lancio il canale per una settimana

Nel corso di questi sette giorni, i bambini potranno scoprire le incredibili avventure degli animali esperti di salvataggi. Scorreranno in sequenza tantissimi episodi provenienti dalle sei stagioni finora realizzate dello show. Non finisce qui però, perché ci saranno tantissime sorprese per i più piccoli.

Fra queste non mancherà Mighty Pups, lo speciale che ha debuttato lo scorso Natale nelle sale cinematografiche. Una lunga avventura di 45 minuti in cui i cuccioli affrontano una grande avventura. Lo speciale arriverà per la prima volta in televisione il prossimo 15 maggio, proprio sul canale dedicato.

La nuova appassionante avventura dei PAW Patrol parte quando un enorme meteorite colpisce la cittadina di Adventure Bay. Questo evento porta il leader del team Ryder a riunire la sua squadra: Marshall, Rubble, Chase, Rocky, Skye e Zuma saranno pronti ad aiutare gli abitanti della città, ognuno con le sue speciali abilità e competenze.

Una serie di avventure appassionanti, che si alterneranno continuamente per sette giorni sul canale. Un’occasione unica per tenere compagnia agli spettatori più piccoli in questi giorni in cui la scuola è ancora chiusa. Pronti a tuffarvi quindi in questa maratona totale dei PAW Patrol?


Di Più Nick: ViacomCBS Launches #KidsTogether and #LontaniMaVicini Campaigns in Italy

Originally published: Friday, May 08, 2020.

Additional source: Google Translate.
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What Did You Think of the New 'The Loud House' Episode 'Sister Act'? | Nickelodeon Fan Poll

What did you think of the brand-new The Loud House episode "Sister Act"? Vote in the polls and sound off in the comments below!

How to Stay in Touch With Friends & Family Without Actually Touching | #KidsTogether | Nickelodeon

We're all missing hanging out with our friends, but to keep ourselves and others safe right now, we HAVE to stay home. Here's some tips on how you can stay in touch with friends and family without actually touching, featuring SpongeBob SquarePants, The Loud House and The Casagrandes!

More #KidsTogether Content!:

More Nick: Nickelodeon Greenlights 'Group Chat: The Show' and 'Game Face'; To Premiere Summer 2020!
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New Episodes of 'Ollie's Pack' | All This Week | Only on Nickelodeon

Catch brand new episodes of Ollie's Pack, weekdays at 4:30 p.m. (ET/PT), only on Nickelodeon!

Monday, May 11, 2020 at 4:30 p.m. - Hollie Monitor; Sister Save Me: After a series of locker vandalism, Ollie becomes hall monitor and summons a sheriff monster from the pack; while Ollie is out of commission with a swollen ankle, Pyper takes on the job of Chosen One. (#113)

Tuesday, May 12, 2020 at 4:30 p.m. - Cool Hand Wowski; Big Bern: After Ollie and Captain Wowski have a spat, CW is mistaken for a stray cat and gets captured by Animal Control; preparing to meet a bully after school, Bernie finds a monster device in CW's closet that can help him. (#111)

Wednesday, May 13, 2020 at 4:40 p.m. - Getting Oldie With It; Lil' Baby Ollie: After Ollie, Cleo and Bernie use an age-up monster to get into the movies, Bernie experiences the joys of being old; Ollie impresses the coolest kids in school but now has to watch a scary movie. (#127)

Thursday, May 14, 2020 at 4:30 p.m. - Ollie Dogs; Camp Magna: Ollie offers a monster realm condiment at his hot dog stand, accidentally causing weird side effects; during a camping trip with his classmates, Ollie uses the pack to avoid roughing it. (#108)

More Nick: Nickelodeon USA's May 2020 Premiere Highlights!
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9 Reasons SpongeBob Would Be the WORST Roommate! 👥 SpongeBob

9 Reasons SpongeBob Would Be the WORST Roommate! 👥 SpongeBob

Do you live with someone who snores loudly, and lets their alarm ring for a long time? Well, imagine that times 100 if you lived with SpongeBob! Explore 9 reasons why SpongeBob would be the WORST roommate ever!

Watch SpongeBob SquarePants on Nickelodeon!

Listen to The SpongeBob Musical here!:

The SpongeBob Movie: Sponge on the Run swims into theatres on Friday, August 7, 2020.

CALLING ALL GOOFY GOOBERS! (ROCK!) Are ya ready for a deep dive into the world of SpongeBob SquarePants? The SpongeBob YouTube channel is THE PLACE for all fan-favorite SpongeBob moments! We’re serving up everything from legendary scenes to remixes of classic songs to deep dives into Bikini Bottom lore. Be sure to check back every week for Music Mondays, Wumbo Wednesdays, and Flashback Fridays! Subscribe now at!

Shop SpongeBob!:

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It’s Cooking With Randy & Mandy 👨‍🍳 Ft. Kenan Thompson| All That

It’s Cooking With Randy & Mandy 👨‍🍳 Ft. Kenan Thompson| All That

Your favorite at-home chefs from Channel 106B are back and Randy (Kenan Thompson) & Mandy are here to teach you to cook! How hard can making scrambled eggs be, right?

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There's Nothing Better Than Nickelodeon | Nickelodeon Israel

There's Nothing Better Than Nickelodeon | Nickelodeon Israel

ערוץ ניקלודיאון | אין יותר טוב מזה

ערוץ ניקלודיאון

#ניקלודיאון #אין_יותר_טוב_מזה

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Additional source: Google Translate.
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Spyders | Episode 23 | TeenNick Israel

ספיידרז: פרק 23 המלא | טין ניק

פרק 23 | סופי, ניקי, שון ודניאל עושים קמפינג כדי לתפוס את הפושע שמסתובב באגם. ניקי מבואסת כשהיא רואה את שון ולין יחד. טומי מגלה שהאודישן שלו לא הגיע לבית הספר, ומחליט לתקן את המצב.

#טיןניק #ספיידרז

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What Did You Think of the New 'The Substitute Top 10 Wildest Pranks'? | Nickelodeon Fan Poll

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How ViacomCBS' Velocity Found Opportunity in Remote Production

Via the ViacomCBS Newsroom:


Creative casting, agile messaging, and remote editing services have kept the in-house creative agency busier than ever.

By Beth Trentacoste, Senior Vice President (SVP) and Head of Creative & Production at Viacom Velocity, a full-service in-house creative advertising and branded content studio.

Creative studios are used to navigating challenges—like tight timelines, limited budgets, or in a very specific case—how do we make this witch character float?—when producing content for partners. We love a creative challenge. We like the chance to be scrappy. We relish the chance to use our creative muscles to, quite simply, make it work. And despite the unprecedented limitations caused by the coronavirus, we are doing just that.

At Velocity, ViacomCBS’ in-house marketing and creative content studio, we needed to adapt to a new way of working to deliver for our clients. We set up our entire creative and production teams —staffed with writers, editors, directors, producers, motion designers, and art directors – to work remotely. We got creative, finding ways to produce spots that could be in-market immediately, some in less than 24 hours. We operationalized a new shooting process, edited existing work to ensure it’s appropriate to the current cultural climate, and in some cases, cast our families in spots. We also gave advertisers the opportunity to amplify a powerful message in our portfolio-wide PSA campaigns.

We started to explore options for remote capture and self-capture on Day 1, looking at everything from drop kits, Zoom, iPhones, and remote editing tools, to test creative concepts and produce new spots. After a series of tests and proof-of-concept shoots, we launched a remote capture playbook with best practices for talent and producers. This ensures that our entire team, our talent, and our clients are up-to-speed on all the ways we can create and distribute content remotely. It also empowers everyone to be a producer; I used the playbook myself to capture footage in my house from a shot-list created by one of our in-house directors.

Adjusting In-Market Messages

In the first few weeks of the pandemic, we both created new work for clients and did fast edits of clients’ existing spots as an immediate solution for marketers who would otherwise have no choice but to go dark.

For example, one of our clients had a spot currently in rotation that suddenly felt tone-deaf to consumers’ reality. Within a day, our internal team created a new one for them using custom motion graphics and voice-over. The solution enabled the brand to get something back in-market and gave them some flexibility as they work with their external agency to produce a new commercial campaign.

Prior to COVID-19, we created custom content for Mattel’s Barbie for the 2020 Nickelodeon Kids’ Choice Awards, which featured a group of kids dancing together. Given that schools are currently closed and social distancing measures are in place, the content could feel confusing or alarming to kids, so to address this, we shot via-remote capture, our talent from the safety of her home, letting viewers know that this was shot previously. Another piece of custom content we made for the KCA’s, in partnership with MILK PEP, featured kids in a skate park and to re-adjust, we did a quick re-edit to show separation between the kids.

Another way we helped advertisers pivot commercial messaging that had suddenly become inappropriate or irrelevant was to work them into our #AloneTogether and #KidsTogether PSA campaign. Clients had the option to run our existing #AloneTogether PSA, or work with us to create customizable versions that could align closer with their brand positioning while also sharing a positive message of support for consumers. On Nickelodeon, we created a series of #KidsTogether PSAs (and used our own kids for the voiceovers).

These spots made it possible for brands to stay in-market in a relevant and meaningful way, while also providing an avenue to use their commercial time to amplify a positive message.

Perfecting Social Campaigns and Remote Capture

To support the #DistanceDance, a social distancing initiative targeting Gen Z created by Proctor & Gamble in partnership with TikTok phenom Charli D’Amelio, we activated our linear, digital, and social content to drive mass awareness and fan engagement for the dance challenge across the ViacomCBS portfolio.

During #KidsTogether: The Nickelodeon Town Hall special that aired on the network and YouTube at the end of March, D’Amelio gave host Kristen Bell a #DistanceDance tutorial and encouraged families to dance, share, and spread the message. Additionally, our networks rallied fan participation by leveraging talent with massive social reach; creating original #DistanceDance videos on MTV’s Wild ‘N Out with Justina Valentine, Paramount Network’s Lip Sync Battle, VH1’s RuPaul’s Drag Race, and others. The ViacomCBS campaign garnered more than 2M impressions on Facebook, Instagram, YouTube, and Twitter, and 10 billion views on TikTok.

For our client Modelo, Velocity worked with the team at The Daily Show to spotlight the brand’s support of First Responders First. The Daily Social Distancing Show with Trevor Noah has been a leading voice in late night during the Coronavirus pandemic, so it was a natural fit to explore integrating feel-good stories from our advertising partners who are equally invested in helping people through this crisis. In the April 30th episode of the show, Trevor encouraged viewers to celebrate the upcoming Cinco de Mayo holiday by raising a glass to all the health care workers on the front line. Courtesy of Modelo, for every toast posted on social media with the hashtag #CincUp, the company will donate $1 to First Responders First, up to $500,000.

For MTV, we engaged our network of talented dancers to self-shoot a sequence we directed and then edited together to make a spot that rivals anything done via traditional production.

Overall, the last weeks have given us a chance to spotlight our capabilities and find new ones. It’s made us realize what’s possible when it comes to delivering for clients and consumers. We’ve found ways to work together and work quickly even when we can’t all be in a room together. If you told me a writers’ room could be just as fruitful (and hilarious) without being in an actual writers’ room, I wouldn’t have believed you. And I would have been wrong.

Beth Trentacoste is Senior Vice President and Head of Creative & Production at Viacom Velocity, a full-service in-house creative advertising and branded content studio.

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