Beet.TV The root to the media revolution Tue, 28 Jun 2016 20:07:14 +0000 en-US hourly 1 Eyeview’s $21.5mn Boosts Push For ‘Outcome-Based Marketing’ Tue, 28 Jun 2016 19:46:06 +0000 [...]]]> CANNES — Video ad tech vendor Eyeview is now up to $58m in funding across six rounds, after it took a $21.5m series D round from an investor in its native Israel this month.

Qumra Capital is a new investor addition to the line-up. Eyeview says it will use the funding to further invest in its sales, marketing, and engineering efforts.

Eyeview CEO Oren Harnevo tells Beet.TV the company provides “outcome-based video marketing”.

“We commit to sales returns for our advertisers,” he says. “We provide return on ad spend. They see how their dollar worked.”

Specifically, it does that by slicing video ads in to many different possible combinations of scenes, targeted for individual viewers.

“We take original creative and create hundreds of thousands of different videos about the different types of toothpaste, about the different stores you can buy them on,” Harnevo adds. “We’ll match down to the individual level with the right video ad.”


This video part of “Beyond the Pre-Roll: the Transformation of Video Advertising,” a series produced at Cannes Lion 2016, sponsored by ConvertMedia.  For more videos from the series, please visit this page.

Cannes Panel w/ FOX’s Joe Marchese: Choosing Consumer Ad Choices And Other Dystopian Scenarios Tue, 28 Jun 2016 12:44:54 +0000 [...]]]> CANNES – How many choices television and video content distributors should give viewers in return for fewer or no advertisements—and the various forms those choices can take—drew mixed opinions among a panel of buyers and sellers. If the session hosted by Omnicom’s OMD agency network elicited agreement on one thing, it is that consumers have been “abused” by too much advertising.

How to alleviate that abuse prompted a range of responses from Sharon O’Sullivan, who is EVP of Ad Sales for Discovery Communications, Joe Marchese, President of Advanced Advertising at Fox Networks Group and Ben Winkler, OMD’s Chief Investment Officer. In response to a question from moderator Matt Spiegel, SVP and GM for Marketing & Technology Solutions at MediaLink, Winkler declared that “the future is here, but it’s not evenly distributed” before questioning the concept of consumer interaction with ads.

“I’m not sure that I entirely buy the idea that people want to be active participants in their advertising experience,” Winkler said. And although the average American watches roughly five hours of TV daily, “They’re not doing that because they like to make choices. They’re doing that because they like to be entertained. And they want that to be as easy an experience as possible.”

Winkler warily cited a “dystopian” future in which every time he tries to watch something he will be asked, “are you interested in seeing a home improvement ad, or perhaps a soft drink ad?”

Marchese also voiced skepticism. “I’m actually not as bullish on choice of what ad to see,” he said. “I don’t understand why it became such a taboo idea to admit that we’re buying peoples’ time. It’s called media buying for a reason. You’re paying to be put in front of somebody. I think consumer choice on that level isn’t there.” He went on to note that people will interact more with ads if it leads to reducing total content interruption. “Invariably we’ve seen it,” Marchese said.

The closely related issue of how media companies make revenue adjustments to offset lower commercial loads brought home the reality that some old media buying metrics need to fit into new circumstances. O’Sullivan lamented the fact that while Discovery has gone to great lengths to limit its commercial loads, “We haven’t gotten credit for it. When you’re in that negotiation and you’re talking CPM’s, no one’s ever said, ‘You know what? There is more value in that reduced commercial load.’”

By way of cause and effect, media sellers piled on more ad inventory. “And now it’s gotten to a point where it’s consumer abuse,” O’Sullivan said. “It shows up in ratings. Then it comes back to the economics. What are you giving up in rating for that over commercialization? And that’s why you now see some media companies cutting back.”

She added, “I do think there’s a tension with consumers and programmers and advertising, and there should be because I do think there’s a level of abuse.”

This video was produced at the OMD Oasis at Cannes Lions 2016 as part of the Future of TV Advertising Leadership Forum, a series presented by true[X] and hosted by OMD Worldwide. true[X] is wholly-owned unit of FOX.  Please visit this page for additional segments.

Spotify Offers Listener ‘Intimacy’ For Brands, Tour Planning For Artists Tue, 28 Jun 2016 12:41:31 +0000 [...]]]> CANNES – Spotify wants brands to get intimate with its listeners, because it knows what they are feeling. Artists, meanwhile, can drop in anytime and check out the geographic popularity of their labors.

In an interview with Beet.TV at the Cannes Lions festival, where Spotify had a major presence on several panels, Head of Sales for the Americas Liberty Carras Kelly cites the company’s Sponsored Playlists as the latest opportunity for audio engagement. Data collected by Spotify provide clues as to listeners’ moods and what they’re doing—be it running, or cooking, working out or whatever.

“We curate over 400 different playlists all around those moments,” Kelly says of Sponsored Playlists. “We encourage brands to come in and find the right audience and own 100 percent of that experience end to end across that entire playlist.”

Playlists like Rap Caviar and Hot Country are reaching over three million listeners every month. “From an advertiser perspective, we’re helping connect brands with really the most intimate experience that our listeners have with Spotify,” Kelly says.

Spotify also informs artists on where those listeners are. They can log in at any time to the company’s platform and see in real time how many streams are being played, where they’re being streamed, how frequently they’re being streamed and what’s been popular.

“This is important because it’s helping inform artists on where they should schedule tours and appearances,” Kelly says.


Cross-Platform Measurement Improving But Creative Fit Lagging, Says Carat’s Ray Tue, 28 Jun 2016 12:24:14 +0000 [...]]]> CANNES – Progress is being made on measuring cross-platform audience engagement and proving that advertising campaigns on those platforms are working. But the CEO of Carat USA thinks figuring out which creative messaging works best within a given platform should be happening faster.

Doug Ray, in an interview with Beet.TV, ticks off his priorities thusly: finding a common currency for cross-platform viewing and then proving actual business results from campaigns. “We’re doing modeling work to be able to understand ROI, volume contribution of moving that money, which is actually allowing clients to see that value and unlock more money to flow more freely across platforms,” Ray says.

Calling creative a “huge, huge issue,” Ray says that one piece of ad content from one platform does not necessarily translate into effective messaging on another platform.

“We need to be helping our clients solve that, because it’s not something that’s being solved as easily or as quickly as we’d like it to be solved,” Ray says.

He considers companies like Facebook and Google powerful entities that advertisers must deal with, because like other media agencies, Carat’s clients “have huge businesses that require scale in order to order to move their product. We have to be solving the challenges away from Google and Facebook and avoiding some of the challenges those walled gardens may have created.”

This video was recorded at Cannes Lions 2016 at a Beet.TV leadership summit on advanced television and advertising hosted by Carat.  For more segments from the session, please visit this page.


New York Times VR App Has ‘600,000 Users’, Wins Cannes Award Mon, 27 Jun 2016 21:50:10 +0000 [...]]]> CANNES — It’s not even a year since The New York Times, a stalwart of text publishing, bowed a virtual reality app for VR-enabled mobile phones, showcasing reporting in 360 degrees. Already, NYTVR has 600,000 users, a company executive tells Beet.TV.

“We never could have imagined how big it would become,” said New York Times advertising and innovation SVP Sebastian Tomich. “It was our most successful app launch in history. It’s got 600,000 users right now.”

NYTVR wasn’t just an app launch, of course, and those users didn’t materialize magically. The New York Times gave away Google Cardboards, the rudimentary VR headset container for Android phones, to 1.3m of its print home-delivery subscribers. That has helped popularize the app.

And that’s good news for Tomich, whose T Brand Studio team is helping brands like Mini and GE embrace VR as advertisers.

“The team is probably doing about 10 virtual reality briefs a week,” he says. “We’re hiring technologists, AR experts. “Banner ads are not ideal for consumer. We need to have better tools.”

All this is why NYTVR won a prestigious award in Cannes last week – the Mobile Grand Prix – with the jury president hailing it as “a Wright Brothers moment for mobile in how it can really help a brand thrive in its most challenging times”.

“We think it’s the first publisher to take home a grand prix in Cannes history,” Tomich added.

This video part of “Beyond the Pre-Roll: the Transformation of Video Advertising,” a series produced at Cannes Lion 2016, sponsored by ConvertMedia.  For more videos from the series, please visit this page.

Yahoo Steps Up Content Marketing Game With ‘Storytellers’ Offering Mon, 27 Jun 2016 19:29:43 +0000 [...]]]> CANNES – Seems like all of a sudden, everyone’s a storyteller—brands and media companies alike. Not to be left behind, Yahoo Storytellers has made its debut, an effort the company’s Chief Revenue Officer dubs “story telling with an ROI.”

In an interview with Beet.TV, Lisa Utzschneider says that as the result of Yahoo having offering content marketing solutions for several years, marketers have asked for some refinements.

“We work with them now earlier in the process,” Utzschneider says. “We have a seat at the table, we’re ideating with them, creating with them and understanding their KPI’s and their goals to ensure that we offer a campaign that’s measurable and impactful to the consumer.”

The “amplified content marketing offering” that comprises Yahoo Storytellers mines more than 165 billion daily digital data signals to help brands identify consumer insights and inform what type of content opportunities they should pursue to reach their target audience. From a creative standpoint, the offering taps into leading journalists and Hollywood-pedigree creators.

“The way the activations happen, we typically create the content or partner with outside production companies, if we need to tap whether it be a Hollywood content studio or another studio,” Utzschneider says.

So what’s the definition of story telling with an ROI?

“What I mean by that is using data and analytics to really figure out what’s resonating with consumers,” says Utzschneider. “Because if you are able to demonstrate a lift in brand awareness or purchase intent, that’s a thumbs up that it’s working with consumers.”

This video was produced at the OMD Oasis at Cannes Lions 2016 as part of the Future of TV Advertising Leadership Forum, a series presented by true[X] and hosted by OMD Worldwide. Please visit this page for additional segments.

To Nielsen’s Feigenson, It’s All About Balancing Ad Formats And Mix Mon, 27 Jun 2016 17:37:16 +0000 [...]]]> CANNES – Amid much soul searching about reducing ad loads to better engage viewers, brand marketers face a fundamental balancing act: formats and advertising mix, according to Andrew Feigenson, Managing Director of Digital for Nielsen.

Indeed, total audience planning and measurement will be a major topic as the global company convenes its annual Nielsen Consumer 360 conference in Las Vegas, where Beet.TV has an on-site reporting presence.

“Total audience will be a big one for us,” Feigenson says in an interview with Beet.TV at Cannes Lions.

Among recent studies, Nielsen paired with a media company to examine video binge viewing and brand sponsorships. “If you’re a sponsor and you’re paying a media company on a CPM you’re forcing that media company to run your ad all the way through a binge viewing environment,” Feigenson explains. “In some cases, that actually leads to lower performance.”

One interesting aspect to video on demand is that it’s easier to measure in the digital environment than it is in a TV environment “because we just have much larger scale of data when you look digitally,” Feigenson says. “The scale of the VOD campaigns right now is not the same as what you get with a typical ad buy.”

This not for want of metrics. “The metrics are there. It’s about scale,” says Feigenson.

His view of the addressable TV advertising evolution is composed of three stages: automation, making more informed buying decisions with deeper data and “your truly dynamically inserted ad environment,” which is a small piece of the market right now. “Most of what we’re seeing is the automation, and then taking indices of various different purchasing behaviors and behavioral data, putting it on top of television ratings and buying that way,” Feigenson says.

MasterCard: From Story Teller To Story Maker, Says Global Media Chief Jankowski Mon, 27 Jun 2016 14:17:15 +0000 [...]]]> CANNES – Data-driven advertising messaging has helped MasterCard advance from story teller to story maker, a “super exciting” process and ongoing journey for the industry says Ben Jankowski, Group Head of Global Media for the payment solutions provider.

Jankowski welcomes the discussion at the Cannes Lions of the evolving meld of creativity and technology. “To bring that to scale we have to get the whole community together, and I think it was a good conversation around how do we get everybody together,” he says in an interview with Beet.TV.

Among the “cool stuff” that MasterCard has done is a series of brief videos centered on the 2015 Rugby World Cup competition. One featured Martin Johnson, who was the captain of the winning 2003 team from England, explaining how important it was to beat Wales. “Rather than take celebrities and put them on a movie set and produce the multi- million-dollar piece of film that you run in 30-second forms, we put them in a hotel room on a couch,” Jankowski says of the personalities in the videos. “By producing more quantity we can drive higher engagement.”

MasterCard’s goal is to empower consumers by applying data to tell better stories, “moving us from storytellers to story makers,” Jankowski says. “It’s super exciting. Not only exciting because it brings us closer to consumers but selfishly it helps us be more impactful and efficient with our investments.”

On the subject of addressable television advertising, Jankowski says the challenge for marketers is figuring out the messaging side of the equation.

“Technology has helped us find people and distribute messages to people, which is fantastic,” he says. “The challenge we have to figure out is how do we deliver messages and in an affordable and meaningful way. We can’t simply quadruple, quintuple our production costs. It’s not feasible. We have to figure out the content side. It’s a journey and we’re working on it.”

We interviewed him last week in Cannes where he was a participant in session on advanced TV hosted by Carat.   Segments from that session will be forthcoming. 

Beet.TV interviewed Jankowski as part of our series on addressable and the new world of television advertising. This series on Beet.TV is sponsored by AT&T AdWorks.

Sky May Put Premium Soccer Clips On YouTube, Facebook, Twitter Mon, 27 Jun 2016 12:26:31 +0000 [...]]]> LONDON — It has been a spring and summer in which digital-native platforms have risen up, signing deals to carry live premium sport broadcasts.

So, with live sports the jewel in the crown of TV content today, are the digital networks really challenging traditional TV operators for the rights? Will traditional TV really lose its hold over top competitions?

Not so fast – each of the deals above was really about marketing, building the brand of  at least one of the partners involved: the NFL outside the US, BT Sport to potential subscribers, and women’s soccer to the uncoverted.

Sports TV rights remain hugely lucrative – money the online upstarts may not stump up. But that doesn’t mean they have to stay locked to TV, and it doesn’t mean the online platforms won’t still have content to gain.

In this video interview with Beet.TV, UK pay-TV platform leader Sky, which paid a record £4.18 billion to retain three years of English Premier League soccer, reveals it hopes to distribute videos from its coveted locker through the big online platforms.

“We’ve got really strong partnerships with YouTube, Facebook and Twitter – they are a very key part of our marketing plan for our content rights,” says deputy MD of the company’s Sky Media ad sales division, Jamie West.

“In the next Premier League season coming up in August, we’re already exploring with all of those platforms how we might share our Premier League clip rights across those platforms, within the rights restrictions that we have – time-bound, day of match and that sort of thing.”

For Sky, this is not altruistic. Nor does it represent a tipping point in which the networks gain full-match, live or substantial programming rights. Sky is not about to give away the content it has spent heavily for. But it does want to use soccer clips as a shop window for its full package of Sky Sports subscription channels.

“For us, it’s about driving consideration back to the Sky Sports app, the Sky Sports platform,” West adds.

“Some of our relationships are very deep-rooted relationships – whether it’s F1, Premier League in the UK or Bundesliga in Gemany. We look to build really strong relationships with those rightsholders that really amplify their content across multiple platforms.

“So for us in that social world it’s about bringing that consumer back to the (pay-TV) platform.”

Such a distribution arrangement would be interesting. In addition to owning live, multi-platform broadcast rights, Sky also has a separate package of rights governing online clips. Whilst these are also made available through Sky Sports’ own apps, the company also struck an exclusive sub-licensed distribution deal with its sibling company News UK, the newspaper publisher, to run the clips across The Sunday Times, The Times and The Sun newspapers’ digital properties.

The Premier League has tended to use coercion and legal action to remove illegal use of its rightsholders’ content from social and other online platforms, its latest concern being Vine clips and live rebroadcasts through Periscope and MeerkatSky Sports’ own football channel on YouTube stops short of including match clips.

Partnering with the online platforms to gain visibility for its premium content is nothing new. In a recent fire-side chat with me at The Guardian’s Changing Media Summit, Sky’s UK CEO and Facebook’s EMEA VP explained how the pay-TV company runs events to trail things like Game Of Thrones and Sky News stories on Facebook, all building awareness of Sky’s own core pay platforms – but never giving away too much.


This interview is part of our series “The Road to Cannes”, presented by FreeWheel. Please visit this page for additional segments.

Be Authentic, Transparent & Change The World: Arnold’s Elliott Mon, 27 Jun 2016 12:23:06 +0000 [...]]]> Sure, ad agencies can try and sell stuff to consumers – but they can also change the whole world.

That’s according to one agency creative chief watching a world of change open up new opportunities – for brands that are prepared to communicate honestly.

“Never before has advertising been such a part of culture,” Arnold global chief creative officer Jim Elliott tells Beet.TV. “The lines between entertainment and advertising is blurring more and more. We’re driving culture. We’re inspiring culture.

“We have so many opportunities, channels, platforms, places that we can interact with audiences – it’s never-ending … to create art that drives business, motivates people and changes the world. Never before has advertising been in a position to effect change … it’s incredible.”

Elliott took the role at Arnold in 2015, working on clients including Hershey, New Balance and Jack Daniel’s, after a stint at Y&R. His campaign work has garnered a list of awards as long as your arm – Cannes, D&AD, CLIO, London International, New York Festivals, Stephen E. Kelly, Effie Worldwide, the One Show, the Epica Awards, National ADDY, the Art Directors Club, the ANDYs, Communication Arts, the Webbys, Radio Mercury, the Web Marketing Association and the Yahoo! Big Idea Chair.

So what, for Elliott, is the driving imperative of modern brand work? “It has to feel authentic to the brand,” he says. “It needs to feel the brand has a permission and a right to put this idea out in to the world. It can’t be force-fit.”

That means being “authentic” and “transparent”, he adds. “It’s not blindly selling someone and not wanting to hear what your audience has to say or think.”


Industry Should Spend More Time Mapping The Messaging Ecosystem, Says Bough Of Mondelez Sun, 26 Jun 2016 21:41:16 +0000 [...]]]> CANNES – There’s been lots of meaningful talk about the creative uses of data at the Cannes Lions gathering. But the media executive who represents Oreos and other venerable consumer staples says the “absent conversation” should have been about reaching consumers via digital messaging apps and platforms.

To B. Bonin Bough, Chief Media & Commerce Officer of Mondelez International, there’s a general belief that says second to mobile devices, consumers are either staring at videos or their Facebook feed.

“But the reality is that it sits inside of messaging,” Bough says in an interview with Beet.TV “Here we have, as a creative community, no conversation around what does the world of creativity look like when you can only send the consumer a message or when you have to communicate with them in one of those platforms.”

From a targeting standpoint, he adds, “Also, by the way, it’s closer to first-party data than any other platform we have. For me, it’s the absent conversation here at Cannes this year.”

Bonin ranks understanding the messaging ecosystem ahead of such talked-about topics as ad blocking.

“The ad blocking conversation is important because it I think it affects our investment, but I actually think it’s a very small portion of the conversation to be perfectly honest with you,” Bough says. “We’ve had ad blocking for years. It’s called ‘I’m just walking away from the TV screen.’”

Mondelez has been an early pioneer in testing and deploying addressable television ads. Bough calls it “super important” and a growing component of the media mix, then quickly returns to the world of messaging.

“There is no strategic underpinning, there’s no model, there’s no approach,” he says. “We don’t have anything for this entire space where four to five minutes of your life is actually spent in a message app at some level, and we don’t have anything for that.”

When it comes to all things mobile, Bough has taken matters into his own hands, so to speak, by authoring the book TXT ME and putting his phone number on the cover. (Subtitle: Your Phone Has Changed Your Life. Let’s Talk About It.)

While at Cannes, he says, “Today we’ve talked with over twelve hundred people.”

We interviewed him last week in Cannes where he was a participant in session on advanced TV hosted by Carat.   Segments from that session will be forthcoming. 

Beet.TV interviewed Bough as part of our series on addressable and the new world of television advertising. This series on Beet.TV is sponsored by AT&T AdWorks.

Time Inc. CEO Ripp: Magazines Excel At Reader Engagement And ROI Sun, 26 Jun 2016 14:30:04 +0000 [...]]]> CANNES – Believing that so much advertising has become noise, Time Inc. CEO Joe Ripp thinks the best way for advertisers to engage with consumers is to engage with the best story tellers. No surprise that they include magazine editors.

In an interview with Beet.TV, Ripp extols the virtues of magazines by citing a recent Nielsen Catalina Solutions study showing that they yield the highest return on advertising spend. Then he points to the popularity of the print medium based on what readers are willing to pay for People.

“People magazine charges $115 a year for that subscription. We sell millions of them,” Ripp says.

This is not to suggest that digital is an afterthought for Time Inc., which recently spent what Advertising Age reports was approximately $87 million to acquire certain assets of Viant, the parent of MySpace. Noting that while much digital intelligence to date has come from browser cookies and the probability they infer, Ripp explains that Viant has deterministic data.

“We know what your household is, what TV shows you watch, we know what you do on your iPhone, what you do at your desktop,” Ripp says. “We can target you very specifically.”

According to Ripp, the Nielsen Catalina study reinforces the concept that ads are an integral part of the content for which magazine readers are willing to spend money. It’s one of the reasons why Time Inc. last year created The Foundry, the Brooklyn-based facility where some of the company’s senior writers and editors are helping advertisers engage with readers.

“We’ve always been good at creating stories that engage,” Ripp says.

The company is also knee-deep in video content, having turned out about 43 thousand videos last year and anticipating producing more this year. “Video is the new form of distribution of content. It’s a great vehicle for advertisers to engage,” he says.

This video part of “Beyond the Pre-Roll: the Transformation of Video Advertising,” a series produced at Cannes Lion 2016, sponsored by ConvertMedia.  For more videos from the series, please visit this page.

How Facebook Feedback Keeps Brands Honest: JWT’s Eastwood Sun, 26 Jun 2016 12:34:35 +0000 [...]]]> Once upon a time, in the age before feedback and media choice, advertisers could simply push out messaging without much regard to the viewpoints of viewers who were captive by default.

All that has changed in an era when the consumer feedback loop has closed, and a warm reception by users is a prerequisite.

“People aren’t going to watch a product that is mindlessly shilling,” is how ad agency JWT‘s worldwide chief creative officer Matt Eastwood puts it. “People regard Facebook as their space.

“The feedback loop with consumers keeps brands honest. You have to be more mindful of what viewers want to see, which is a great place to be.”

In Ad Age‘s 2013 Awards Report, Eastwood was listed as the 5th most awarded Chief Creative Officer worldwide. He joined in mid-2014 after senior creative stints at DDB, M&C Satchi and elsewhere in a career that began as a DDB copywriter in Sydney, Australia.

“The big change from 20, maybe 10 years ago is, you can be so much more immersive in the way that you tell the story,” he tells Beet.TV.

“Because of the technology Facebook is developing, you can tell a wider story, you can plan the way you roll out a sequence of videos. You can tell bigger, better, more immersive stories using all the different video techniques. It’s an exciting time.”

ConvertMedia’s Naveh: Dynamic Versus Fixed Real Estate, Not ‘Race To Bottom’ Sun, 26 Jun 2016 12:30:23 +0000 [...]]]> CANNES – When it comes to selling ads, can web publishers make more money by doing less? The co-founder and CEO of ConvertMedia thinks so, citing a “race to the bottom” with fixed banner ads.

Yoav Naveh, who heads the outstream video supply side platform, believes publishers became fixated on fixed banner ad placements, to the ultimate detriment of the users.

“I think we got to a point where that has created a pretty bad experience,” Naveh says in an interview with Beet.TV. “There is a race to the bottom with more and more of these units that you have to sell because it’s fixed real estate and you have to sell that.”

He cites as one drawback to fixed banner ads their adjacency to real content, which minimizes their impact for advertisers. But the dependency of publishers on this particular ad format has had a domino affect.

“It kind of created a situation where advertisers have to be more and more aggressive with what they’re doing and publishers want to make money, so they add more and more of these units and users just simply get annoyed by it,” Naveh says.

Now, with the huge growth in mobile devices, the industry needs to jettison its mindset of “we have to sell an ad at all costs,” according to Naveh. Dynamic real estate should supplant fixed real estate and, if done right, fewer ads will be shown but with higher individual impact.

“If you do it right I think you can actually make more money,” Naveh says. “And I think that’s the holy grail, right? Make more money by doing less ads is a win win situation.”

While in Cannes, Naveh has been soaking up the outpouring of creativity with an eye toward trying to figure out how publishers can benefit from it while doing their part to better engage consumers. Publishers need to do more than just say, “Well, I’m giving the real estate and hopefully from now on the advertiser can figure it out,” says Naveh.

This video part of “Beyond the Pre-Roll: the Transformation of Video Advertising,” a series produced at Cannes Lion 2016, sponsored by ConvertMedia.  For more videos from the series, please visit this page.

Xaxis’ Schlickum: ‘Inspire’ Agencies About The Creative Use Of Technology Sun, 26 Jun 2016 12:27:49 +0000 [...]]]> CANNES – If practitioners in the programmatic advertising space could not only educate creative and media agencies as to the benefits of data and technology but also inspire them, then all parties might just reinvent marketing. This frank assessment from Caspar Schlickum, Co-Founder and CEO of Xaxis EMEA, the WPP Group programmatic unit, came after he listened to a panel about technology followed by one featuring creative and media agency executives.

“It was absolutely fascinating to see just how far apart those two groups were,” Schlickum observes in an interview with BeetTV.

He isn’t blaming agency folks from either being shy about the creative possibilities of data and technology or being incapable of using it.

“It’s a different problem,” Schlickum explains. “They look at the marketing challenge so much more holistically, the creative challenge so much more holistically, than how you are rendering a programmatically served ad.”

Listening to the Xaxis-sponsored panels “crystalized” for Schlickum how important it is that technology be involved very early on in the strategic planning process for agencies’ clients.

“If we just educate creatives about what’s possible, it’s never going to reasonate,” Schlickum says. “Whereas if we find ways to inspire them with what they can do if they use some of this technology, then I think we have a real chance of reinventing our marketing.”

A former partner at WPP media agency Mindshare, Schlickum advocates that programmatically delivered ads not be used solely for performance-based campaigns.

“There’s absolutely no reason why a programmatic campaign has to necessarily be a performance campaign,” Schlickum says, adding, “there’s absolutely no reason why programmatic can’t play a much more important role in brand building.”

This video is part of a series titled “Exploring Data & Technology as Catalysts for Creativity.”  This series was produced at Cannes Lions 2016 in cooperation the Xaxis. The series is sponsored by comScore.  For more segments from the series, please visit this page.

NBCU’s Wurtzel: The Olympics Represent A ‘Research Dream’ Sun, 26 Jun 2016 12:21:57 +0000 [...]]]> If self-proclaimed “research geek” Alan Wurtzel could create a new Olympic sport, it might very well be called Synchronized Cross-Platform Measurement. In the walkup to the Summer Games in Rio, the president of Research & Media Development at NBCUniversal says the Olympics are a unique opportunity to glimpse the future behavior of viewers.

NBCU has been to the Olympics rodeo before. But as the Games themselves have become more complicated, along with the variety of ways people view them, so has the media company’s ability to track all of this cross-platform content consumption. This year, its efforts will be boosted by its recruitment of TiVo Research and RealityMine for single-sourced, cross-platform viewer measurement.

According to Wurtzel, the reasons why the Olympics are a “research dream” are threefold: the sheer volume of content all across platforms, the huge amount of consumer use and that the spectacle spans 17 days.

“So unlike a big event like the Super Bowl or the Golden Globes, we can see trends take place over those three weeks,” Wurtzel says.

One such trend emerged from NBCU’s coverage of the 2010 Games in Vancouver. “I know this is going to sound crazy now, but what we learned was the rise in apps,” Wurtzel recalls, explaining that back then, people with cell phones were consuming content via website-design interfaces. “But all of a sudden there was this inkling of apps, and it was very clear that apps were going to be the way in which consumers going forward were going to access content,” Wurtzel says.

When he returned from Vancouver, “it was one of our biggest insights and the company wound up saying we better start developing apps,” says Wurtzel.

He has dubbed his Olympics-related research resources the “billion-dollar lab” not because he has $1 billion to spend on research, but because it’s what it cost NBCU for the rights.

“What the billion-dollar lab and all the work around the Olympics does is give us a glimpse of the future,” says Wurtzel.

This interview is part of a series on the future of TV analytics and measurement sponsored by TiVo Research. Please visit this page for additional segments.

Data Helps Creative To Resonate With Consumer Targets: comScore’s Fetters Sun, 26 Jun 2016 12:19:29 +0000 [...]]]> CANNES – What do Taylor Swift and Sarah Palin have in common? They’re both between the ages of 25 and 54—a heretofore one-size-fits all demographic for brands like Special K but a meaningless metric for today’s more precise targeting, says Aaron Fetters, SVP of Marketing Solutions at measurement and analytics provider comScore.

Fetters should know about breakfast food. He spent four years at Kellogg Company before joining comScore one year ago, preceded by a stint at Procter & Gamble. In an interview with Beet.TV at the Cannes Lions festival, Fetters welcomes the buzz about data-driven creative at the world’s largest advertising celebration.

“We go to so many data-based conferences and the conversation is 99% about media and the reality is there’s such a huge opportunity for creative and for data to impact the creative process,” says Fetters.

He acknowledges the current struggle by brand marketers to accurately measure reach across all of the devices consumers use to view content, along with trying to prove effectiveness.

“It starts with the simple ‘am I even generating the reach that I feel is necessary to grow my brand’ to the much more complex ‘how do I attribute any effectiveness I might see back across the various channels that I do choose to advertise in,’” Fetters says.

While not divulging whether he’s a fan of either Swift or Palin, Fetters observes that age brackets are practically meaningless given hyper-targeting opportunities gleaned from comScore “literally observing” consumer behavior.

“Certainly the type of creative and the type of message that’s going to resonate with those two individuals can be very different,” Fetters says, adding that the key to using data to drive creativity enables brands to determine “what’s going to resonate with those consumers on a more personal level.”

This video is part of a series titled “Exploring Data & Technology as Catalysts for Creativity.”  This series was produced at Cannes Lions 2016 in cooperation the Xaxis. The series is sponsored by comScore.  For more segments from the series, please visit this page.

Creative Optimization: More ‘Levers’ To Pull For Campaign Optimization, Says Xaxis’ Moore Sun, 26 Jun 2016 12:16:01 +0000 [...]]]> CANNES – Noting an “inflection point” involving creativity, data and technology, the chairman of WPP Group’s Xaxis programmatic unit has this message for the creative community: Give us as many levers as you can to help us optimize advertising campaigns.

“Creativity has been a little behind in terms of taking advantage of all the data that digital has to offer,” Dave Moore, who is also president of WPP Digital, says in an interview with Beet.TV. “That community has now woken up.”

The ability to track not only ads but their creative elements enables advertisers to gauge the real-time response of consumers and to adjust campaigns on the fly. To people like Moore, it’s another lever just itching to be pulled.

“We’ve been used to pulling levers for a long time in the digital world,” Moore says. “We’re pretty good at media optimization. Give us another lever to pull, which is creative optimization, we love it. In fact, give us as many levers as you can.”

According to Moore, it’s clear that “there’s an inflection point going on between creativity, data and technology.” Historically, the industry has focused on the audience to which you show an ad. But creative optimization “is about what you are putting in front of that audience,” he says.

Based on the constant flow of information from consumer response to digital ad campaigns, “Over time, we’re going to know what colors work best on a Friday afternoon at four o’clock,” says Moore. “We’re going to know what type of language to use on a Sunday morning as opposed to a Friday evening.”

This video is part of a series titled “Exploring Data & Technology as Catalysts for Creativity.”  This series was produced at Cannes Lions 2016 in cooperation the Xaxis. The series is sponsored by comScore.  For more segments from the series, please visit this page.

Beet Commentary: “Building the Adaptable Media Enterprise”: “The Media Team of Teams; Agile Talent and Organization Strategies” Sun, 26 Jun 2016 12:00:03 +0000 [...]]]> General Stanley McChrystal radically changed how the US fights its enemies while leading the Joint Special Forces Operations in Iraq and Afghanistan, and likens his experience at war to the challenges many companies face today.

With enemies that were organized in decentralized networks, non-hierarchical with distributed decision-making, leveraging new technologies to communicate in real time, the US military was required to reconsider their battle and modus operandi. Silo’d and hierarchical structures would no longer work. Individuals needed empowered, walls between departments broken down, and information needed to flow more freely across their teams enabling speed and accuracy. Sound a little like the media landscape today?

In this segment, Ashley, inspired by General McChrystal’s book, “Team of Teams”, presents her thinking on what highly functioning and agile media organizations must do to thrive. With talent, organization and workflow strategies as cornerstones of success, they must change for media companies that want to straddle the chasm of convergence and win.

Knowledge must be distributed freely and quickly across teams, which require that everyone in the organization have a holistic awareness of what qualifies as “victory” and a shared consciousness as to the part they play. This is very different from today’s typically silo’d teams, who are often not powered by technology, but rather held back.  She provides her perspective on some best practices and thoughts on how to mitigate the challenges of the complicated media landscape of today.

You Must Have A World View, Droga5’s Royer Tells Brands Sun, 26 Jun 2016 11:45:11 +0000 [...]]]> Ted Royer has travelled a lot. In his 20-year marketing career, the chief creative officer of independent ad network Droga5 has worked in Singapore, Argentina, Australia and finally New York City.

How has marketing changed in that time? Marketing is no longer just about messages, it’s also about opinions, Royer tells Beet.TV in this video interview.

“It’s not enough to say the cream filling in your cookie is really good,” he says. “That brand … has to have a point of view on the world. That’s something that we stress all the time with brands.”

In its tenth anniversary year, Drog5 offers brands services from print to user experience and counts Google, Chase and Unicef as clients. It has been named Agency of the Year nine times and one of Advertising Age’s Agency A-list honorees for six years. William Morris Endeavor invested in 2013.

So how does Royer, who has won more One Show Pencil awards than any other rookie creative, execute on the point-of-view imperative?

“We start our creative process by going to a brand or client and straight-out asking: ‘Why does your brand exist in the world?’,” he explains.

“No-one owes you anything – brands die every single day. Why should your brand be considered, why should it live in conversations on your Facebook wall? How can a brand earn its way there?

“It’s like a cocktail party – do you have something interesting to say when you walk up to a group of people?”

Anderson Cooper: People Should Consider The Sources Of Their News Feeds Thu, 23 Jun 2016 07:09:28 +0000 [...]]]> CANNES – CNN anchor Anderson Cooper, who likes to tell “other peoples’ stories”—sans teleprompter—has some advice for a generation that has access to lots of information: take the time to learn where it’s coming from.

Whether it’s the ongoing news story about the mass shootings in Orlando or the 2010 earthquake in Haiti, Cooper wants to be where things are happening, as they happen.

“I like being on the scene on the front limes. I like the teleprompter being blank or not having a teleprompter at all,” Cooper says in an interview with Beet.TV.

Asked about the press coverage of his own coverage of Orlando, Cooper is reflective about his importance. “I don’t think in those terms,” he says. “I’m there to tell other peoples’ stories. As much as possible I don’t want to be part of the story.”

To Cooper, authenticity and veracity should be foremost in importance to viewers of anything that passes for news content.

“This generation has access to more information than any generation in the history of the world and it’s an extraordinary thing, an amazing thing,” Cooper says.

But that overabundance comes with caveats.

“The flip side is it’s more important than ever before to know where your information is coming from,” he says. “Has the information been vetted? Has it been authenticated? Have the images been authenticated? I think it’s important for people to know where their news comes from.”

This video was produced at the OMD Oasis at Cannes Lions 2016 as part of  the Future of TV Advertising Leadership Forum, a series presented by true[X] and hosted by OMD. Please visit this page for additional segments from the series. 

CNN Chief Zucker: With Original Programming, Not Just A News Network Thu, 23 Jun 2016 00:43:28 +0000 [...]]]> CANNES – Original CNN programs like “Anthony Bourdain: Parts Unknown” and “The Hunt with John Walsh” has given the network “an entirely new dimension”—along with a whole new audience and advertiser slate, says CNN Worldwide President Jeff Zucker. In an interview with Beet.TV, Zucker says that CNN “is a very different network than it was four years ago.”

Zucker boasts that CNN brings more resources to bear on the presidential election than its competitors. “CNN has shown the most growth of any television network in America because of its coverage of the presidential election this year and we’re only half way through the year,” says Zucker. “It’s been an incredible year for us.”

According to Zucker, CNN’s original programming—12 series this year and 12 planned for 2017—has brought “a whole new audience to CNN. It’s brought a whole new slate of advertisers to CNN. It has given us an entirely new dimension that we’re not just a news network.”

Likewise, Zucker feels that CNN anchor Anderson Cooper also is flying high, between interviewing presidential candidates, moderating debates and writing a best-selling book with his mother, Gloria Vanderbilt.

“His coverage of what happened in Orlando at the Pulse nightclub was some of the most heart warming, gripping and sensitive coverage of that story anywhere and I think really was another defining moment for his career,” Zucker says.

This video was produced at the OMD Oasis at Cannes Lions 2016 as part of  the Future of TV Advertising Leadership Forum, a series presented by true[X] and hosted by OMD Worldwide.  Please visit this page for additional segments.

Brand Stories Connect Data, Content & Desire: Publicis’ Jacob Thu, 23 Jun 2016 00:12:57 +0000 [...]]]> CANNES — Programmatic is fine – but the programmatic revolution may already have happened. Next up? Back to storytelling. That’s what a growing number of advertising execs say.

One of them is Iain Jacob, the Chief Executive Officer, EMEA for Publicis Media

.”A lot of ad-tech to date has been about optimization, improving efficiencies and automation,” he tells Beet.TV in this video interview.

“That’s great, but there’s a bigger future there. It’s going to be discussed this week. This is around storytelling for brands … how they’re getting the right content in front of the right people at the right time.

“Effective storytelling has to be about connecting content around consumers’ desires. The big push for data is connected data, looking at people as individuals.”

Publicis recently went through a reorganization that Jacob says was about creating simplicity and integration for clients in an increasingly complex world.


Discovery Joins Fight-Back As Consumers Shun ‘Egregious’ Ads Wed, 22 Jun 2016 23:58:00 +0000 [...]]]> CANNES — The growing visibility of online ad blocking, believed to be a response to excessive ad volume, is giving rise to advertiser worries about overly aggressive advertising across all media.

Even TV is getting twitchy about viewers’ response to the way it programs advertising – something Discovery Communications ad sales EVP Sharon O’Sullivan says she has noticed.

“With traditional TV being anywhere from 9 minutes to 22 minutes, there’s a point where it’s egregious,” she tells Beet.TV in this video interview. “People are rebelling. Networks that have gone in to the world of over-commercialization have suffered in the ratings, and now they’re cutting back.

“The consumer is the one in control. Something has to be done, we know that, and the consumers are demanding it.”

So what can be done? Turner has already told Beet.TV how it is halving ad load on its truTV and TNT channels. Now Discovery Communications has its own ideas, too.

“Some people have come out with limited commercial interruption, they come out with different formats and loads,” O’Sullivan notes.

“We have the ability to do anything because we own the content. We are going out with custom solutions – does a client want to own a pod, to create custom content around a pod or a show? There is still a traditional 30-second model – but we have endless opportunities to partner with great creative.”

Flexibility, she says, is key.

This video was produced at the OMD Oasis at Cannes Lions 2016 as part of  the Future of TV Advertising Leadership Forum, a series presented by true[X] and hosted by OMD Worldwide.  Please visit this page for additional segments.

Don’t Be Greedy With Consumers, Says Resurgent PHD’s CEO Cooper Wed, 22 Jun 2016 23:46:12 +0000 [...]]]> CANNES — By his own admission, the CEO of media buying agency PHD Worldwide says 2016 has been “pretty good to us” so far.

The group has signed new contracts with Delta Airlines, Carnival cruises and recently won
the business of the whole Volkswagen Group globally, having already worked for several of its sub-brands.

Now at Cannes Lions, where his company is teaming with Wired founding editor Kevin Kelly for an on-stage presentation, Mike Cooper says the most pressing action for advertisers is: go easy on your audience.

“If you’re too greedy with your messages, consumers will just make sure that it finds its own level,” he tells Beet.TV in this video interview. “If you over-do it, they will reject you.

“If you’re on television with too much frequency, people will get fed up with your message, they will mentally block it out.

“It’s about crediting the consumer with sufficient intelligence and being respectful with their engagement experience.”