Beet.TV The root to the media revolution 2017-05-24T15:20:08Z WordPress Steve Ellwanger <![CDATA[FreeWheel’s Brunet Discusses The Programmatic Guaranteed Future, Unified Header Bidding]]> 2017-05-24T15:20:08Z 2017-05-24T15:20:08Z [...]]]> Premium video provider FreeWheel believes that guaranteed, programmatic transactions on a one-to-one basis between publishers and buyers represent the future of both video and linear television. The programmatic guaranteed world is the “next generation of programmatic transactions for premium publishers because this guarantees a safe transaction for both the seller and the buyer and it also gives control back to the publisher,” says Hervé Brunet, GM, Markets at FreeWheel.

In this interview with Beet.TV during the TV UpFront market, Brunet addresses the importance of both a unified platform for video and TV inventory and one decisioning engine for header bidding to handle both programmatic and direct-sold transactions.

In one-to-one, guaranteed programmatic selling buyer and seller agrees on things like terms, pricing, flight dates, inventory and audience type. “The seller would actually bundle the inventory and guarantee it to the buyer and the terms would be agreed upon, which is very important in an UpFront setup,” says Brunet.

It also creates a bridge between digital video and programmatic or linear TV. “We think the programmatic guaranteed world will be the way to transact both digital and TV,” he adds.

FreeWheel has committed to creating a unified stack, “which is really the future for the industry. This is what the sellers want but it’s also what the buyers want eventually.”

On the subject of header bidding, Brunet points out the reality that despite being a “red hot topic,” the technique was created for desktop and display. It’s not designed for video, mobile screens, OTT and non-IP environments like set-top boxes.

“Plus it introduces delay in the transaction so it basically ruins the user experience,” Brunet says.

Moreover, having direct handled by an ad server and programmatic by header bidding “basically defeats the purpose of holistic competition across the board between direct sold and programmatic,” he adds.

FreeWheel’s unified decisioning engine bridges this gap so that direct-sold campaigns compete with programmatic campaigns across all screens.

To underscore the depth of digital advertising fraud, Brunet cites the discovery by Internet security firm White Ops of a $1 billion-plus Russian hacking operation called Methbot in which bots posed as humans watching online videos. At the time, FreeWheel conducted a study and found that 99.999% of its traffic did not match the IP addresses that White Ops had listed, “which means our publishers are inherently clean,” he says.

In a related study as part of the FreeWheel Video Monetization Report, FreeWheel determined that on average its viewability metrics were 15 percentage points above those of random publishers.

Looking beyond the desktop, where the need for viewability first became a concern, Brunet stresses there’s a bigger story to be addressed.

“Viewability needs to address all devices,” he says. “Video includes OTT, mobile, set-top, VOD and eventually linear TV. Those devices need to be taken into account as well in the future.”

This segment is part of a series leading up to the 2017 TV Upfront. It is presented by FreeWheel. To find more videos from the series, please visit this page.

Robert Andrews <![CDATA[Taboola Flips To Cards To Give Publishers Infinite Engagement]]> 2017-05-24T11:49:31Z 2017-05-24T11:38:40Z [...]]]> In the last couple of years, the idea of “cards” has gained steam for presenting online information. Google’s Material Design aesthetic depends on cards, Facebook feed items are shown as cards.

And now Taboola, one of the big companies powering recommended content at the bottom of publishers’ news articles, is going with cards, too.

On Wednesday, Taboola launched Taboola Feed, a new way of presenting its recommended content – both sponsored and otherwise – at the bottom of news articles. And the new system is more than just cosmetic:

  • Now that content will be signposted in “cards”, free-standing units beneath article text.
  • Cards can contain anything – not just basic text-and-image pairings, but rich media, games and more.
  • Taboola’s feed scrolls infinitely, like Facebook’s, meaning more and more recommendation units can be surfaced as readers continue to scroll down.

In this sit-down interview with Beet.TV, Taboola CEO Adam Singolda is upfront about the inspiration for the product launch – social networks and mobile phones.

“The average person spends 55 minutes every day on Facebook,” Singolda says. “The reason is … instead of thinking of placements and real estate on the page, everything is streamlined in to this card system.

“Taboola Feed … offers consumers to scroll down, like they do in social networks. My hope is consumers will linger on the open web as much as they do in social networks.”

To realize that dream, Singolda will need to get customers buying in to both cards and feeds. So he is launching a modularized way of getting them to build card content, in what he’s calling “our version of the Apple Store, a marketplace for cards”.

“If you’re a startup anywhere around the world and you want to be part of a publisher ecosystem, you can build a card,” Singolda adds. “Let’s say you’re a weather company – you can build a card about the weather. It can be a commenting card, a gaming card.” This video shows how different kinds of cards may be deployed in Taboola Feed:

The system has already been used by the New York Daily News, with both sides claiming it has driven up both reader engagement and monetization.

Taboola Feed also takes a swipe at many commonly-accepted ways of delivering commercial messages online. Taboola claims that many web pages nowadays are too stuffed full with all manner of ad units and widgets, often competing with content for users’ attention.

Standardising delivery in something called “cards” seems like a beneficial way of going with the current user interface tide, whilst also cleaning up the ad ecosystem.

The Taboola Feed card system can be used both to serve links to publishers’ own organic on-site content, as well as the content marketers want to promote through publisher sites.

This interview was recorded at the annual Digital Media Summit of LUMA Partners.

Steve Ellwanger <![CDATA[Male-Oriented UPROXX CEO Blank On The Importance Of Branded, Shareable Content]]> 2017-05-24T00:55:14Z 2017-05-24T00:55:09Z [...]]]> Male-centric UPROXX considers itself to be a creative agency because of how it understands and caters to its audience, which perceives entertainment as more than just movies, film and TV. It’s about what’s being produced by major studios, labels and “what our audience are making in their own bedrooms,” says CEO Benjamin Blank.

In this interview with Beet.TV at the Digital Content NewFronts, Blank talks about “the culture of now,” how UPROXX approaches collaborating with brands and how to get those brands to “create a piece of content that is shared naturally by our audience. It’s a tricky thing to figure out.”

This video is part of Beet.TV’s coverage of the IAB’s Digital Content NewFronts 2017. The series is sponsored by the IAB. For more videos from the #NewFronts, please visit this page.

Steve Ellwanger <![CDATA[McCann Of Little Things: Lifestage Content Not Necessarily Gender-Specific]]> 2017-05-24T00:54:40Z 2017-05-24T00:54:40Z [...]]]> Little Things specializes in creating meaningful, inspiring content for women who are part of the “nesting and nurturing psychographic.” But men might also find its content of interest provided that they fit the parameters of this life stage.

This is typified by Little Things videos that range from how to keep an avocado green to the easiest way to make a smoothie by pre-storing the ingredients in a mason jar—the latter having generated 88 million views, according to Editor-in-Chief Maia McCann. In this interview with Beet.TV at the Digital Content NewFronts, McCann discusses the company’s foray into OTT content delivery and why “mom content shouldn’t be just about being a mom.”

This video is part of Beet.TV’s coverage of the IAB’s Digital Content NewFronts 2017. The series is sponsored by the IAB. For more videos from the #NewFronts, please visit this page.

Steve Ellwanger <![CDATA[HealthiNation: Strictly Vetted Content For Patients, Families And Caregivers]]> 2017-05-24T00:51:42Z 2017-05-24T00:51:42Z [...]]]> Videos are a powerful way to communicate health and medical information to people at all levels of literacy, but only if the content is strictly vetted. “We have a very strict process in terms of what we publish and what sources we use,” says Dr. Preeti Parikh, Chief Medical Editor of HealthiNation.

In this interview with Beet.TV during the Digital Content NewFronts, Dr. Parikh explains how she helps her editorial team decide on accurate and legitimate sources of information, the importance of reporting both preventive measures and how to live with certain conditions, along with the way that video helps to simplify complicated subjects.

This video is part of Beet.TV’s coverage of the IAB’s Digital Content NewFronts 2017. The series is sponsored by the IAB. For more videos from the #NewFronts, please visit this page.

Steve Ellwanger <![CDATA[NBCU’s Yaccarino Lauds Set-Top Box Insights for Advertising Results]]> 2017-05-24T00:16:29Z 2017-05-24T00:16:01Z [...]]]> National marketers want “scale that’s smart” by combining the best data from digital platforms with premium television content. And to close the loop, they want to be able to transact on a currency that reflects their desired business outcomes, says NBCUniversal sales chief Linda Yaccarino.

She wants to “shine a light on the need for the industry to reach out beyond legacy metrics so we can promise our clients, the national marketers, an improvement to their business.”

This was a big theme in NBC’s TV Upfront last week.

In this interview with Beet.TV at the annual Digital Media Summit of LUMA Partners, Yaccarino talks about what advertisers have been waiting for, the value of parent Comcast’s set-top box data and the company’s newly expanded relationship with Snapchat in the form of a daily news show on the social platform.

While no one argues the value of premium content and its impact on an advertising campaign, “How great would it be for us to be able to transact on a currency that reflects their outcomes to improve their business,” says Yaccarino, who is Chairman of Advertising Sales & Client Partnerships for NBCU.

She dismisses traditional ratings like C3 and C7 as “an approximate number of who may or may not have watched out show that we have to wait three weeks to get.” Lacking better metrics, marketers have lacked “the data they craved or were promised form the digital platforms combined with the scale of premium content.”

She cites NBCU’s audience tools and studio, largely powered by data from parent Comcast’s set-top boxes, as providing insights that can be married together with consumer data “to have a good prediction” of advertisers’ business outcomes.

As ADWEEK reports, NBCU just announced that NBC News will produce Snapchat’s first daily news show. Yaccarino says what started out as a “very modest relationship” with the social platform for the Rio Olympics “changes every single day.”

This segment is part of a series leading up to the 2017 TV Upfront. It is presented by FreeWheel. To find more videos from the series, please visit this page.

Steve Ellwanger <![CDATA[Fueled By Proprietary Technology And Snapchat, Mashable Video Views Soar]]> 2017-05-23T23:04:27Z 2017-05-23T23:04:27Z [...]]]> This time last year, Mashable unveiled its proprietary Velocity Technology Suite software, which uses predictive analysis to inform content creation. Since then it’s gone from “a couple hundred million video views” monthly to 1.5 billion, according to Chief Revenue Officer Ed Wise.

Using Velocity, Mashable tries to identify “who’s influenced, who can influence on a certain topic and who’s influenceable,” Wise says in this interview with Beet.TV at the Digital Content NewFronts. This is done by staffers examining users’ behavioral habits like sharing, engaging on the web, liking, commenting and other activity.

Snapchat in particular has been a boon, as Mashable is the platform’s exclusive tech partner for its Discover network of media outlets. “That’s led to significant growth. For us it’s a game changer,” says Wise.

At this year’s NewFronts, the company launched a new vertical video product called Mashable Reels. Reels are arranged as slideshows that can be easily scrolled through on both desktop and mobile devices. The slides also change automatically after the individual videos they contain finish running, as Tubefilter reports.

Sprint and McDonald’s are two launch partners for Mashable Reels, according to Wise.

He says the “secret sauce” for Mashable inside of video and in addition to sponsorships is branded content, again fueled by predictive analytics. “I think when you look at the advertising community they’re not really quite sure what to create,” Wise notes. “They have a gut.”

He cites the example of an automobile manufacturer that says it wants to target 18- 34-year-olds who are in the market. Since that doesn’t really differentiate the auto brand from its competitors, Mashable seeks additional targeting data that might consist of, say, coffee, shoe and travel preferences. Then it tries to figure out what content those targets are consuming right now.

“The brand might think it’s entertainment but we’re saying it’s technology,” specifically technology related to music, so Mashable does a deeper data dive. “Inside of that thread we’re going to see that the insight is fearless thinking” so content related to fearless thinking is produced and distributed.

“It’s creating the right piece of content that you may not have thought was the kind that you should create,” Wise says. “If we’ve done that right we then should prove out that it actually works that we’ve moved the needle on your business. I think we’re getting pretty close to being able to do that.”

This video is part of Beet.TV’s coverage of the IAB’s Digital Content NewFronts 2017. The series is sponsored by the IAB. For more videos from the #NewFronts, please visit this page.

Robert Andrews <![CDATA[Will Smart Machines Adjust TV Ad Load Automatically?]]> 2017-05-22T19:01:02Z 2017-05-22T19:01:02Z [...]]]> LAS VEGAS — Around the TV industry, advertising executives are responding to growing consumer disaffection for ads, by reducing ad load and rejigging the duration of ads served in to commercial breaks.

But what if machines did it for them?

That’s a future Scott Braley sees emerging. Speaking on a Beet.TV panel, the Ooyala ad platforms GM explained the idea.

“We’re seeing some broadcast customers who use analytics from the player to inform ad load on a little bit more of an optimised basis,” he said.

“We’re moving in that direction where there’s more machine feedback that automates the different number of breaks you can have, the load per break and what-not … adjusting the pod length, the number of breaks per hour.”

Turner has already been experimenting with running fewer, longer, better ads in its breaks, and other TV firms are examining how to make ads more engaging. Braley thinks algorithms can customise the deployment of TV ads for different audiences.

“Certain audiences have a different predilection for consuming content,” he says. “Certain content will attract more affinity from users. Certain devices will generically have different user experiences.

“Looking across those three and figuring out, at any moment in time, if there’s an optimal ad load based on what you know about the user and the audience and the content, then informing the advertising platform to adjust its setting.”

But, also appearing on the panel, Fox Networks Group advertising data and technology group SVP Noah Levine thinks linear TV is “a way’s away” from the prospect, whilst Viacom data strategy SVP  Gabe Bevilacqua said acceptance of higher ad load comes down to targeting.

“It’s quantifiable, it’s clear – when you are in-target, you’ll watch more of the ads,” he added.

This video is part of Beet.TV’s coverage of the 2017 NAB Show in Las Vegas.   The series is sponsored by Ooyala.  For more coverage of NAB, please visit this page.

Steve Ellwanger <![CDATA[NGL Media: Reaching Latinos With Premium Video And John Leguizamo]]> 2017-05-22T18:33:00Z 2017-05-22T18:33:00Z [...]]]> Most people don’t get to create one company with actor John Leguizamo. David Chitel, CEO & Founder of Hispanic-oriented video provider NGL Media, has done it twice.

At the Digital Content NewFronts, the company’s production division, NGL Studios, announced two new initiatives: Latin History For Morons, featuring Leguizamo, and a new platform called EOP Comedy: With Liberty and Comedy for All. In this interview with Beet.TV, Chitel talks about NGL’s proprietary video technology, its ability to reach Hispanic and multicultural Millennials with premium video and the 50 private marketplace deals it executed with advertisers in 2016.

This video is part of Beet.TV’s coverage of the IAB’s Digital Content NewFronts 2017. The series is sponsored by the IAB. For more videos from the #NewFronts, please visit this page.

Robert Andrews <![CDATA[Business Insider Has A Three-Pronged Social Play For Advertisers]]> 2017-05-22T10:48:53Z 2017-05-22T10:48:53Z [...]]]> In the last few years, Business Insider has risen to be one of the most popular business news websites on the planet – but selling that audience to advertisers doesn’t happen solely on that website.

In this video interview with Beet.TV, Business Insider chief revenue officer Peter Spande says the publisher is now helping brands make BI-style content specifically for social channels.

The world no long just comes to news sites, they experience them through social platforms, too. On Twitter, for example, @businessinsider now has almost two million followers – and BI is embracing the opportunity to deliver branded video there.

“We do three things, and only three things,” Spande tells us, channelling a pitch he made to ad buyers at the Digital Content NewFronts:

  1. “We can get people’s attention in less than two seconds with the content we’re creating.”
  2. “We can hold their attention, that’s what’s really hard.”
  3. “In many cases, we can drive people, then, to action.”

“We can do it in a way that wasn’t possible without social. We’re not going to say the website is dead. We create over 600 pieces of content for our websites.

However, in many cases, the way people access our websites is completely different than it was 10 “years ago. People are coming via social. That has led us to telling stories on those platforms rather than click to come through to our websites.”

This video is part of Beet.TV’s coverage of the IAB’s Digital Content NewFronts 2017. The series is sponsored by the IAB. For more videos from the #NewFronts, please visit this page.

Robert Andrews <![CDATA[OpenAP Is Just The Start, Viacom’s Bevilacqua Says]]> 2017-05-22T10:46:15Z 2017-05-22T10:46:15Z [...]]]> LAS VEGAS — When Fox, Turner and Viacom unveiled a new tool to help agencies buy ads across their new advanced TV offerings in April, it was described as “historical“.

But one of the partners says the move was just baby steps in what will become a much more full-fledged affair.

OpenAP is a way of introducing commonality around the ways the TV companies describe the many audience characteristics that are now targetable by advertisers through their platforms.

Until now, advertisers who were embracing the new TV targeting opportunity were getting confused by dissimilarities in those characteristics, when all they wanted to do was to to find their intended viewer.

“With OpenAP, we’re taking a first step here,” says Viacom data strategy SVP  Gabe Bevilacqua in this video interview with Beet.TV. “Right now, we’re building a foundation, built on consistent audiences, giving the advertiser and agency power and control over who sees their segment, where and how.”

Bevilacqua says OpenAP was a response to ad buyer demand.

“(We) are seeing a ton of demand in the market for ‘let’s do TV a little bit differently’,” he added.

“Pick-up truck intenders with (Fox) is a little bit different from pick-up truck intenders with (Viacom).”

OpenAP is powered by Accenture.

This video is part of Beet.TV’s coverage of the 2017 NAB Show in Las Vegas.   The series is sponsored by Ooyala.  For more coverage of NAB, please visit this page.

Robert Andrews <![CDATA[News Corp CTO Wants Balance And Lessons From Tech Platforms]]> 2017-05-22T10:38:22Z 2017-05-22T10:38:22Z [...]]]> News Corp’s new global technology chief wants to learn from big tech platforms, and to keep his brands publishing through social sites – but only if the deal stacks up.

This month, he was confirmed in the role of chief technology officer after Paul Cheesbrough moved along to the same role at sister company 21st Century Fox. So what is in Marc Frons inbox already? For one, it is the big beasts.

According to recent reports, some publishers are cooling on Facebook, with some pulling out of Instant Articles altogether. And it’s clear there is growing publisher resentment toward what is being cast as the “duopoly” of Google and Facebook in digital ad dollars.

But Frons strikes a measured tone.

“It’s important for us to stay on these platforms – but in a way that makes sense for our businesses and our readers,” he tells Beet.TV in this video interview.

“In the beginning, everybody was rushing to put their content on Facebook or giving Google all of their content just because they wanted the traffic and the distribution. It’s clear that that’s a model that’s not sustainable.

“But, on the other hand, you can’t pull back entirely either. There has to be a balance and middle ground.”

Frons’ approach to technology will involve making some 4,000 tech workers across the sprawling News Corp group work more closely together.

And he wants to proceed in a way that makes the company agile and open to taking tech risks.

“Where news organisations can learn from Silicon Valley is this way of iterating and experimenting toward the truth or the better outcome, instead of having a more ideological approach,” Fronts adds.

Robert Andrews <![CDATA[Cognitive Science Is Boosting Brand Safety For Video Ads]]> 2017-05-22T10:38:50Z 2017-05-22T10:35:37Z [...]]]> LAS VEGAS — The next wave of focus in computing is machine learning and artificial intelligence – and advertising will be a beneficiary.

Big computing providers like IBM and Microsoft already have significant cognitive services suites, available to developers through APIs, to perform tasks like text analysis.

But what if those services could also see inside videos? What if they could understand the content of video, so that TV and video platforms could automatically tag their content?

That is what IBM’s Watson and Microsoft’s Cognitive Services are doing. And video ad-tech platform Ooyala just upgraded its own software with tools from the latter, to help its customers do just that.

“The emerging area of investment for our platforms is … the application of cognitive sciences for the specific use case of brand protection,” Ooyala ad platforms GM Scott Braley said in this panel discussion organised by Beet.TV.

“It’s very difficult for anybody who owns a lot of content, who has a broad network of consumer-generated content, to label and categorise that at scale so that brands can know what they’re buying and where they’re buying it.

“The application of these cognitive science platforms are a phenomenal use case for sealing out brand safety.”

This video is part of Beet.TV’s coverage of the 2017 NAB Show in Las Vegas.   The series is sponsored by Ooyala.  For more coverage of NAB, please visit this page.

Robert Andrews <![CDATA[Household Or Key-Holder: How Precise Can TVs Target Ads?]]> 2017-05-18T18:20:05Z 2017-05-18T18:20:05Z [...]]]> LAS VEGAS — On the spectrum of new-wave TV ad-targeting techniques, many executives are dreaming a degree of targeting precision that can customise ad delivery for individual TV viewers.

That may be an intriguing possibility. Indeed, on many over-the-top devices, it may even be the norm.

But, for a television industry whose infrastructure has been built up around the concept of the household, that may be about as granular as advertisers can get, or should want to get.

That was a view expressed at a panel Beet.TV convened to discuss the new techniques.

“Television is bought and sold at the household level,” Tru Optik CEO Andre Swanton said. “You don’t necessarily know who in the household is consuming the content at that time. That is ‘solutions 2.0’ to figure out.”

And Fox Networks Group advertising data and technology group SVP Noah Levine echoed that view, saying current currencies for measuring TV ads were built to fit a model based on households, not viewers.

“Nielsen has done a beautiful job in the linear television market,” Leine said. “It’s an extremely trusted currency. There is no equivalent outside of linear television.

“… It’s less important to have a very specific currency for very specific data segments, of which there could be thousands. But there must be an evolution so that we solve for unduplicated reach, cross-platform.”

Regardless of the level of targeting precision, there will be value simply in TV ad delivery over new connected devices, said Ooyala ad platforms GM Scott Braley.

“Television ads are not being viewed, they’re not being seen, they’re not impacting me at all,” he said. “So unskippable OTT inventory is actually pretty sizeable opportunity from a viewability and impact standpoint.”

This video is part of Beet.TV’s coverage of the 2017 NAB Show in Las Vegas.   The series is sponsored by Ooyala.  For more coverage of NAB, please visit this page.

Steve Ellwanger <![CDATA[Full-Page Interstitial Ads On Mobile Phones ‘Annoying, Disruptive’: Receptiv Test]]> 2017-05-18T18:00:08Z 2017-05-18T18:00:08Z [...]]]> To cut to the chase on a clinical survey about consumer perceptions of ads on mobile phones, let’s just say that full-page interstitials are not well liked. Mobile video advertising platform Receptiv discovered this when it used 62 people as test subjects in conjunction with neuroscientists and Toronto company True Impact.

“We were curious about how people actually behave when they are presented by an ad experience,” Receptiv President & Global CRO Richard Kosinski says in this interview with Beet.TV at the Digital Content NewFronts.

That curiosity was sated by equipping the test subjects—who thought they were testing a new software app—with brain activity scanners and eye-tracking glasses. During the test, the participants were shown full-page, interstitial video ads and embedded, opt-in video ad units.

“People find full-page, interstitial units to be annoying, interruptive and disruptive to their experience,” Kosinksi explains. “They don’t like them. They use negative feedback.”

When they experienced the embedded, opt-in video ad units, “They found those to be joyful, helpful. They were generally positive.”

A second major finding from the research involves the disparity in time spent watching the ads. “When people were served a full-page interstitial, they watched 25 percent of the video through to completion,” Kosinksi says. “But when they were presented with this embedded, opt-in format 90 percent of them watched the video through to completion.”

Finally, the subjects spent three times more time with a brand in the embedded, opt-in format. Of a total of 40 seconds, 19 of those were spent understanding the ad unit and reading through it, then 21 seconds “with the brand itself.” But as soon as people were served a full-page interstitial, “They spent two seconds looking at the ad and then maybe seven seconds with the brand,” says Kosinski.

As if more evidence was needed about users’ lack of affinity for full-page interstitials, two-thirds of people who were served them didn’t bother to turn their phones to the horizontal, even though the ad format was meant to be seen horizontally.

“They watched it sideways,” Kosinski says. “I’m pretty sure it wasn’t designed to be a sideways observed ad.”

This video is part of Beet.TV’s coverage of the IAB’s Digital Content NewFronts 2017. The series is sponsored by the IAB. For more videos from the #NewFronts, please visit this page.

Steve Ellwanger <![CDATA[Rumble Yard’s Stimmel: Helping Artists Build Multifaceted Revenue Stream]]> 2017-05-19T15:54:27Z 2017-05-18T17:55:59Z [...]]]> It used to be that music and music videos were the main way that artists could connect with their fans and earn money. Sony Music Entertainment wants to help artists “built a revenue stream for you that’s different” by marrying their talent with directors and content producers, says Lee Stimmel, Head of Original Programming at the newly unveiled Rumble Yard, the original video content division of Sony Music Entertainment.

In this interview with Beet.TV after his appearance with Astronauts Wanted at the Digital Content NewFronts, Stimmel discusses how music artists are more “multi-dimensional in how they output creative,” the Jack Antonoff tour-documentary-meets-Curb-Your-Enthusiasm series Sony executed with Lorne Michaels’ Above Average. Also at the NewFronts, Rumble Yard showcased upcoming projects with Al Roker, The Chainsmokers, Kurt Hugo Schneider and Grace VanderWaal.

This video is part of Beet.TV’s coverage of the IAB’s Digital Content NewFronts 2017. The series is sponsored by the IAB. For more videos from the #NewFronts, please visit this page.

Steve Ellwanger <![CDATA[With Editorial Broader Focus, Entrepreneur Taps ‘Emotional’ Business Experiences]]> 2017-05-18T17:50:42Z 2017-05-18T17:49:13Z [...]]]> Just as you can’t call entrepreneurism a niche anymore, Entrepreneur Magazine is no longer the “nuts-and-bolts,” small-business publication it was before Jason Feifer became Editor-in-Chief. “Everybody now talks about being an entrepreneur because you can apply the mindset of an entrepreneur to almost anything that you do,” Feifer says.

In this interview with Beet.TV after the magazine’s first-ever Digital Content NewFronts presentation, Feifer explains the role of the print publication and its digital counterpart, how to tap “the emotional experience of entrepreneurism” and how broadening the formerly narrow editorial focus appeals to everyone from venture-backed companies “to kids selling stuff on eBay.”

This video is part of Beet.TV’s coverage of the IAB’s Digital Content NewFronts 2017. The series is sponsored by the IAB. For more videos from the #NewFronts, please visit this page.

Steve Ellwanger <![CDATA[Harmelin’s Cross: Video Is ‘Future Of Digital,’ Ecosystem Vigilance Required]]> 2017-05-18T17:47:27Z 2017-05-18T17:47:27Z [...]]]> With traditional TV acting more like digital and digital mimicking some of the TV model, sorting it all out for brand marketers isn’t easy. That’s why it pays to be “on the ground” in New York City during the Digital Content NewFronts, according to Janine Cross of Philadelphia-based Harmelin Media.

In this interview with Beet.TV, the independently owned agency’s VP of Digital talks about the need for vigilance and third-party verification in the digital media ecosystem and why “everyone is making that bet that video is the future of digital.”

This video is part of Beet.TV’s coverage of the IAB’s Digital Content NewFronts 2017. The series is sponsored by the IAB. For more videos from the #NewFronts, please visit this page.

Steve Ellwanger <![CDATA[Armstrong, Roker And Entrepreneur Team On Weekly Show About Human Potential]]> 2017-05-18T17:45:04Z 2017-05-18T17:45:04Z [...]]]> The first live-streaming talk show with a live audience, Mario Armstrong’s Never Settle was created to help people maximize their human potential. It’s co-produced by Roker Media with Entrepreneur Network as distribution partner. “Most people know they have something inside of them they don’t have a support system or tips and advice in a structured format to help them achieve it,” Armstrong says.

In this interview with Beet.TV after his appearance with Entrepreneur at the Digital Content NewFronts, Armstrong explains that it takes 30 people to produce the weekly show and why it “feels like it’s daily with all the workload we have behind it right now.”

This video is part of Beet.TV’s coverage of the IAB’s Digital Content NewFronts 2017. The series is sponsored by the IAB. For more videos from the #NewFronts, please visit this page.

Steve Ellwanger <![CDATA[Bank of America Shifts to Calendar Planning, Uses UpFront To Select Partners, Publicis’ Schauer explains]]> 2017-05-18T21:04:31Z 2017-05-17T21:17:42Z [...]]]> As it has for many decades, financial giant Bank of America will have a presence at this year’s UpFront. But having recently changed to a calendar year for planning purposes, BOA will be focused mainly on selecting the most appropriate publishing partners.

BOA’s agency, Publicis GroupeConnect, decided that the UpFront planning model “just wasn’t suiting our needs our needs anymore as a business,” Video Investment Lead Jenny Schauer explains in this interview with Beet.TV.

She also offers her encouragement for the audience-targeting consortium OpenAP while pointing out some early shortcomings.

With regard to the UpFront, “This year we actually decided to take the leap of faith and make the move to calendar UpFront planning. It’s a pretty big shift,” Schauer says.

Following the traditional broadcast planning model “wasn’t allowing us to be as strategic as we could because we had to make pretty big and sizable decisions in the TV space before we had any idea who our audience was going to be for the next year, what our products were going to be.”

This had resulted in “force fitting” things into plans that didn’t address BOA’s total business needs. Moving to calendar planning gives BOA the opportunity to get briefed at the same time as all other channel providers, according to Schauer.

Now it will use the UpFront week to identify key partners. “At the end of the day, we decided that’s really the value for us.”

Because Publicis GroupeConnect has been moving toward audience-based TV buying, Schauer is encouraged by OpenAP and the leadership being shown by founding members Fox, Turner and Viacom. “It’s a small step but it’s a very important step,” she says.

What’s tricky about OpenAP in its early stages is that it’s “essentially a consortium of three separate teams,” with no centralized hub.

“It’s streamlined in that you can use one audience, but it still goes to each individual publisher, gets planned using their tools and you have to go to each publisher with your contract,” Schauer says.

This segment is part of a series leading up to the 2017 TV Upfront. It is presented by FreeWheel. To find more videos from the series, please visit this page.

Robert Andrews <![CDATA[Broadcasters Must Go Holistic In TV’s Fuzzy Future: Ooyala’s Braley]]> 2017-05-18T08:46:30Z 2017-05-17T17:33:02Z [...]]]> LAS VEGAS – The future is more complicated than it used to be. Now, a broadcaster’s go-to-market TV strategy can’t be just one distribution channel; it has to be many.

That was the verdict of several executives on a panel of industry folk assembled to discuss TV companies’ response to the burgeoning new multi-screen future.

The key question – how to approach ad sales when platforms are proliferating – leaves many with a sore head. But executives suggested one response: embrace chaos.

“We have to provide consumers with choice,” said video ad-tech firm Ooyala’s ad platforms GM Scott Braley.

“The broadcasters really need to be thinking about it holistically, and deploying analytics sitting across the licensing of content, subscription services, AVOD businesses and connect all of that together to produce a holistic content ROI across all of those models.”

Braley said his company is helping deliver that right now to clients in France, Germany and Sweden.

Fox Networks Group advertising data and technology group SVP Noah Levine echoed the view.

“My crystal ball is foggy,” he conceded. “(But) the future is one where there can be multiple eventualities, multiple currencies, flexibility to support (many advertiser choices), different types of datasets and so forth.”

And Viacom data strategy SVP Gabe Bevilacqua said his firm thinks the future will look similar, but more so.

“We are investing in the belief that a transition is happening,” he said. “There is a rate of change that you can’t necessarily, granularly predict.

“But the way you want to address that transition is, ‘Ok, so what do marketers want to buy, how do agencies want to buy this?’ Where the audience is in 2019 versus 2021, I think there’s going to be a lot of similarities in the way a marketer wants to address them.”

This video is part of Beet.TV’s coverage of the 2017 NAB Show in Las Vegas.   The series is sponsored by Ooyala.  For more coverage of NAB, please visit this page.

Steve Ellwanger <![CDATA[Havas’ Kanefsky: TV Buyers Want Impact, Great Content And More Ratings Points]]> 2017-05-17T17:14:12Z 2017-05-17T17:13:06Z [...]]]> With all the talk about more precise audience targeting for linear TV, some basic things can get overlooked. For veteran buy-siders like Jason Kanefsky, who’s witnessing his 30th Upfront, those things include basic supply and demand dynamics.

So while “we’re taking a lot of first steps in lots of different directions,” sometimes there’s progress in the TV space and sometimes not, says the EVP, Director of Strategic Investments, for Havas Media.

“The data conversation is I think somewhat overblown right now,” he says by way of preamble. “We have been buying using data for years. It’s not something new to us.”

What’s interesting to Kanefsky is the fact that TV networks “are trying to infiltrate that space,” and “they’re charging to infiltrate that space.” He notes that the OpenAP audience-targeting consortium of Fox, Turner and Viacom designed to unify audience targeting for advertisers is seeking “a 10 percent up-charge on your media cost.”

He’s not disputing the need for a more unified currency across multiple networks. “With that said, we have a long, long way to go to solve the data issue.”

Kanefsky believes the best way to make TV buying more efficient is to actually have more ratings points available to buyers and that using data to optimize media is not a new concept.

“What we need the networks to do is find more ways to put more rating points back in the market, not necessarily from C3 to C7 but to actually perform better,” he says. “We’re in a marketplace that’s driven by supply right now. But what’s driving marketplace inefficiencies is the fact that supply is down so much.”

Advertisers still expect big ratings impact great content but would like to be able to obtain both while reaching audiences in difficult time frames like 8-11, according to Kanefsky.

Asked what he’d like to see most from the networks, Kanefsky says “a strategy” that would provide a vision of “how are we going to get from point A to point B.”

To his mind, ABC is the closest to having such a strategy, NBC is “all over the place” and CBS “has their model built out kind of perfectly.”

This segment is part of a series leading up to the 2017 TV Upfront. It is presented by FreeWheel. To find more videos from the series, please visit this page.

Steve Ellwanger <![CDATA[Y&R’s Sable Sees A ‘Golden Age’ Of Content, Questions Hyper Targeting]]> 2017-05-17T16:02:23Z 2017-05-17T16:02:23Z [...]]]> Technology has done amazing things to create a variety of ways people can consume premium television content, helping to spark a “golden age” for content creators. But is the same technology and the data it enables encouraging the hyper targeting of audiences just because the capability exists?

David Sable is quick to point out that algorithms for TV buying are nothing new, as spot TV was traditionally purchased based on CPM’s—the algorithm of the day. In this interview with Beet.TV, the Global CEO of Y&R discusses the seeming dichotomy that is TV everywhere and the growing urge to micro target audiences.

“It’s complex because the promise of so much data and so much targeting makes one think that that’s what they have to do. That you have to be super targeted,” Sable says.

He references Facebook, Mars and Procter & Gamble Chief Brand Officer Marc Pritchard as advocating a wider approach to reaching audiences. “We’ve always looked for better ways to target,” Sable says. “I think the problem is we’re in a world of because we can we do, as opposed to people taking a step back and thinking about it and saying ‘what am I actually targeting.’”

He was experimenting with what is now known as addressable TV advertising roughly 15 years ago at direct-marketing agency Wunderman. And while he believes addressable is “going to be important,” he fears that “hyper micro targeting is creating an echo chamber” that keeps getting smaller.

“Do I really only want to talk to people who are going to buy a car in the next six months, who have a propensity to buy a Ford or a Mercedes and only talk to them? If that’s what you do, you’re going down the wrong path,” he says.

In a parallel vein, he points to analyst prognostications a decade ago about the bleak future for TV programming because it would all go the way of CGI.

“There’s more stuff on location than ever before. Less stuff in studio. Less CGI,” Sable notes. “On the content side, we in the golden age here.”

He agrees with NBCUniversal ad sales chief Linda Yaccarino on the need for ad-supported programming that fuels the content of popular platforms like Amazon, Hulu and Netflix, as The New York Times reports.

“They’re selling the stuff that advertising has allowed to be created,” Sable says. “They’re just reaping the benefit.”

This segment is part of a series leading up to the 2017 TV Upfront. It is presented by FreeWheel. To find more videos from the series, please visit this page.

Steve Ellwanger <![CDATA[With Each Generational Shift, Entertainment Is Reinvented: Astronauts Wanted’s McGrath And Shore]]> 2017-05-16T19:51:00Z 2017-05-16T19:51:00Z [...]]]> When Judy McGrath and Nick Shore talk about the impetus behind Astronauts Wanted, they sound like long-distance runners in a never-ending race. There’s no finish line per se, just another generation of young people whose entertainment desires they need to decipher and outpace.

It’s a fast-paced mode that McGrath and Shore willingly chose when they departed MTV Networks back in 2013. They were well aware that while MTV had forged many a trailblazing path with young viewers, everything had changed dramatically.

“It’s much more democratized than it ever was. There’s many more places, chances, platforms, players than ever before,” Astronauts Wanted Founder & President McGrath says in this joint interview with Shore by Beet.TV during the Digital Content NewFronts. “And I wanted to jump in and follow the audiences.”

In what is now a joint venture with Sony Music Entertainment, Astronauts Wanted can’t be content with just satisfying millennials. In fact, that age cohort is almost yesterday’s news.

“We’re entering a period where millennials are aging out of the youth demo at the top end,” says Shore, who is Chief Creative Strategist. Given the rise of Gen Z, “Every time a generation shifts, tastes change, stories change, the way to tell those stories changes and it almost always takes the entertainment industry off guard when that happens.”

Astronauts Wanted sees itself as positioned at the generational inflection point and solve for the marketplace the challenge of catering to the next wave of culture seekers.

“I think the content level of TV has risen to a point where it would be challenging to get somebody into a movie theatre,” McGrath observes. “You have to do something really unique and different. Everyone’s upping their game.”

One key distinction between the MTV of yore and today’s video entertainment landscape that both McGrath and Shore relate to is that, while some TV networks are still quite meaningful and powerful, the old gates have been blown away.

“You are no longer the only game in town,” says McGrath but “in the reinvention business all the time now.”

Asked what he hopes marketers take home from the presence of Astronauts Wanted at the NewFronts, Shore says, “Here comes a new generation and just like millennials reinvented entertainment, these guys are going to do it as well. I want to make them thoughtful about that and stop and think ‘who do we talk to about that.’”

This video is part of Beet.TV’s coverage of the IAB’s Digital Content NewFronts 2017. The series is sponsored by the IAB. For more videos from the #NewFronts, please visit this page.

Steve Ellwanger <![CDATA[Unruly’s Prywes On Video Ad Engagement, Emotional Storytelling]]> 2017-05-16T19:48:52Z 2017-05-16T19:48:52Z [...]]]> Unruly has been studying what makes people engage with digital content for more than a decade. So the company knows that it’s easier to emotionally connect with parents and that moms shouldn’t get all the attention because dads like to buy lots of stuff.

And while there’s lots of attention paid by industry groups to user experiences with ad formats, “There should also be guidelines for how to make strong content,” says Unruly SVP, Marketing & Insight, Devra Prywes. “I think it’s really important for advertisers to realize that content and distribution are two sides of the coin for success.”

Not that long ago, video views ruled the day. But now earned engagement metrics are coming to the fore and that’s a good sign, Prywes says in this interview with Beet.TV at the Digital Content NewFronts.

Unruly was one of the participants in the NewFronts Insights Lunch, the focus of which was original research around digital video. Despite the specter of Mother’s Day looming large, Unruly shared its Parents Playbook research to show that dads over index across all devices, are more likely to buy and are more emotional when watching video ads.

Other Unruly research underscores that vertical video “is the future” because most people don’t want to turn their phone to watch horizontal video. “But it’s a little daunting for brands to have to make different types of video creative,” Prywes says.

She’s quite happy to hear more conversations about emotional storytelling and less of an emphasis on video run times. Except that some advertisers are “still locked into” run times of 15, 30 or 60 second ads.

“If you’re making really strong ads, people will watch,” says Prywes, citing the viral Kraft Swear Like a Mother effort. In this 1:35 video, author and “swearing expert” Melissa Mohr offers advice to the 26% of mothers who reported never having sworn in front of their kids.

“It’s a long video,” observes Prywes. But because “there’s a lot of garbage out there, brands that are focused on quality will get that attention.”

This video is part of Beet.TV’s coverage of the IAB’s Digital Content NewFronts 2017. The series is sponsored by the IAB. For more videos from the #NewFronts, please visit this page.