Beet.TV The root to the media revolution 2015-06-29T14:27:47Z WordPress Cotton Delo <![CDATA[SMG Adds Video and Native Distribution to Content@Scale Program]]> 2015-06-29T01:39:38Z 2015-06-29T01:38:22Z CHICAGO — SMG is expanding the content platform it launched early last year to encompass video and native distribution channels.

Designed to help SMG clients with their content marketing efforts, Content@Scale gives quick access to licensed content produced by more than 36 publishers and 135 content contributors, including CBSi, Kiplinger, Mode, Popsugar and AOL, as well as owned content from brand websites, YouTube videos, tweets and Facebook posts.

“It gives brands the ability to associate with quality content … that’s relevant to what [they] care about and to what consumers are talking about and publish that content into paid ads,” says Lisa Weinstein, SMG’s president of global digital, data and analytics. “That really is the value proposition of Content@Scale.”

The program first launched at CES in 2014. Now there are more than 350,000 searchable articles, images and videos in the database, which brands can incorporate into ad units and other types of communications.

At launch, the focus was on display as a distribution channel for content, via a partnership with Flite. Now, working through SMG’s partner Innovid, brands can transform their pre-roll video into interactive and personalized experiences by tapping into the Content@Scale database. And via Nativo, they can insert their content into native formats in publisher streams.

We interviewed Weinstein earlier this month at SMG’s headquarters in Chicago.

Robert Andrews <![CDATA[On Daily Mail’s TV Show, ‘The Site Is The Star': Steinberg]]> 2015-06-29T00:55:02Z 2015-06-28T16:45:11Z CANNES — Almost exactly a year after the president and chief operating officer of BuzzFeed was named to lead MailOnline’s US expansion as the online paper’s north America CEO, now Jon Steinberg is already enjoying getting a toehold in to the TV business.

At Cannes Lions, (as the site is called in the States) and Dr Phil McGraw announced they would be co-creating a new daily syndicated lifestyle show for broadcast in fall 2016, as NYT reports.

What will the TV show of a newspaper look like? “It will be a mix of hard news and entertainment where the site will be the star of the show,” Steinberg tells Beet.TV in this video interview.

“The source content for DailyMailTV will be the site, as well as the engagement on these site. Comments, original stories and reporting will all be fed in to the television show. Simultaneously, the show will be backed on to the site as well.

“As we transfer in to an over-the-top environment, we’ve got opportunities to sell the show to platforms, whether it’s Hulu or Amazon or Netflix – very much something that we have in mind. Right now, the syndicated TV market is a very strong one to monetize in.”

MailOnline is a global behemoth, producing up to 900 daily stories and gaining 225 million unique visitors. Can it also be a beast on the TV screen? Time will tell.

We interviewed Steinberg as part of a series on video advertising at Cannes Lions, presented by true[X].  For more videos from the series, please visit this page.

Robert Andrews <![CDATA[Daily Mail, Dr. Phil Consummate Story Sharing With TV Show Marriage]]> 2015-06-29T00:55:36Z 2015-06-28T16:36:03Z CANNES — Late 2015 and early 2016 already look like shaping up to be the time when the biggest online media brands try breaking in to the old medium of TV.

AOL already hopes to gain distribution for its new HuffPo Show weekly satirical show, and BuzzFeed is known to be considering its options. Now it looks like Dr. Phil McGraw of the Dr Phil show will be’s beachhead for its own US TV ambitions.

At Cannes Lions, the pair announced they would be co-creating a new daily syndicated lifestyle show for broadcast in fall 2016, as NYT reports. The series will be executive produced by Carla Pennington, executive producer of Dr. Phil and The Doctors) and Jay McGraw, executive producer of The Doctors, and Dr. Phil.

“They were surprised that we got so many stories from them, and we were surprised that they got so many stories from us,” Phil tells Beet.TV in this video interview. “It was like a marriage made in heaven. We need to quit just sharing stories – we need to start creating television together. I am more excited about this than anything since the launch of the Dr Phil show.

“We think it’s going to be a disruptive play int television because we’re doing something that has not been done before … Nobody has done … human interest stories on a daily basis from a standpoint of a human interest, the people caught in the middle of it. We’re going to give you the rest of the story.”

We interviewed McGraw as part of a series on video advertising at Cannes Lions, presented by true[X].  For more videos from the series, please visit this page.

Robert Andrews <![CDATA[Shane Smith on Vice, Brands, Pinterest & Video For Millennials]]> 2015-06-29T01:42:58Z 2015-06-28T16:33:14Z CANNES — How should a financial giant market to young adults in the digital age? By giving it to them straight. That’s according to Vice Media CEO Shane Smith, whose publishing company us helping Bank Of America do just that.

At Cannes Lions, the bank announced the launch of The Business Of Life, a video series made by Vice using data provided by Pinterest, which will also promote the content, as AdWeek reports.

“Young people are growing up and need financial advice,” Smith tells Beet.TV in this video interview. “Banks don’t have the best reputation. They said, ‘What would you do?’ I said, ‘It’s very simple’ – just give them factual (information); ’here’s what a mortgage is’, ‘here’s how you lease a car’, ‘here’s renting versus buying’.”

Those are the topics The Business Of Life video discussions touch on over the series.

“Pinterest is one of the biggest platforms in the world … especially that’s interactive,” Smith adds. “We didn’t really have a partnership with Pinterest, so we wanted to see how that would work, and it’s worked fantastically. Analytics doesn’t mean anything unless you can convert that in to something. Pinterest’s data actually works.”

We interviewed Smith as part of a series on video advertising at Cannes Lions, presented by true[X].  For more videos from the series, please visit this page.

Andy Plesser <![CDATA[IPG’s Cadreon to Launch Automated TV Ad Platform with TubeMogul in July]]> 2015-06-29T00:58:33Z 2015-06-28T15:13:34Z CANNES – Cadreon, the digital marketing platform of IPG Mediabrands, will introduce its programmatic TV buying platform created in partnership with TubeMogul, next month with its first campaigns, says Arun Kumar, Global President, in this interview with Beet.TV

Kumar says that the new platform has been demonstrated to several agency clients during the Cannes Festival.

Plans for the TV platform were announced in May.

Also in the conversation, he speaks about the challenges for agencies and brands to operate in a new landscape of “walled gardens” of programmatic tech stacks.

We spoke with him on Tuesday after his participation in the Rubicon Project rooftop session on automated advertising trends. You can find a transcription of the session up on AdExchanger.

Beet.TV is publishing a series of videos from the event, sponsored by the Rubicon Project.  You can find more videos from the series here

Cotton Delo <![CDATA[Goodby: Addressable TV Ads Will Feel Like “They Were Made Just For You”]]> 2015-06-28T10:37:51Z 2015-06-28T10:37:51Z CANNES — Addressable TV and the notion of targeting TV ads individually has been a hot topic in the ad industry for years, and it may very soon be scaleable.

“We’ll be able to make it so that it feels like it was just made for you,” says Jeff Goodby, co-chairman at Goodby, Silverstein & Partners, in an interview with Beet.TV last week at Cannes.

While clearly it’s been possible for some time to target digital ads individually, Goodby observes that the nature of television as a medium will make the experience of seeing spots targeted on the basis of your interests and demographic profile more striking.

“It’s going to have this intimacy that will be crazy,” he says.

Goodby also observes that Cannes has evolved substantially from when he first attended in 1994, when much of the work was “standard commercial stuff” featuring excellent cinematography.

Twelve years later, “the idea of a film was really getting pushed into being something quite different than a commercial,” he says. “It was something that could be played anywhere — online, in a cinema, on a mobile device.”

“And of course now, that’s just exploded, and things can be any length, and they can be anywhere,” he says.

Cotton Delo <![CDATA[GroupM’s Gotlieb Says Reviews Often Happen When Agencies ‘Over-Promise’]]> 2015-06-29T00:54:17Z 2015-06-27T00:51:07Z CANNES — According to GroupM Chairman Irwin Gotlieb, many media reviews are happening at least in part because of a bad habit agencies have developed of promising too much.

“Everything comes home to roost eventually,” says Gotlieb in an interview with BeetTV at Cannes this week. “Those who over-promise massively and fail to deliver have seen their clients suffer market share loss. When a client suffers market share loss, there’s going to be a review.”

Gotlieb also observes that addressable TV is quickly becoming a scalable proposition, with Dish and DirecTV now fully equipped for addressability and other cable providers building out their capabilities. He also notes that GroupM’s advanced TV business unit Modi Media now has a billings run rate of $125 million, up from nothing 15 months ago when it started.

He notes that addressable TV is still supply-constrained, since it’s been limited to the two minutes of ad space owned by the cable operator, but he expects that to change.

“There’s no question that the major broadcasters and cable networks will participate, and they will make their inventory available,” he says. “That’s where the huge opportunity exists, and it will be transformative to the media.”

We interviewed Gotlieb as part of a series on video advertising at Cannes Lions, presented by true[X].  For more videos from the series, please visit this page.

Robert Andrews <![CDATA[‘Under Siege': Kawaja On How Mad Men Are Fighting Back]]> 2015-06-29T01:00:09Z 2015-06-26T10:32:49Z CANNES — It’s a mad, mad, mad, mad world if you’re an ad agency exec right now. On the one hand, you have a palette of unlimited possibility at your fingertips – on the other hand, so does everybody else.

Renowned media and technology M&A advisor and banker Terence Kawaja of Luma Partners is releasing a report, “Back To Mad Men”, that paints a stark picture of the challenge. He says agencies have been “caught flat-footed” by recent technology developments.

“They don’t necessarily have the skillsets necessary to manage their complexity, nor the technical proficiency for that kind of world,” Kawaja tells Beet.TV in this video interview.

“Lately, we’ve seen a big squeeze on agencies, where all these marketing technology companies. The agency is under siege from all these sides.”

Kawaja credits WPP with having invested or acquired in data marketing capabilities and cites Publicis’ acquisition of Sapient as another example of how agencies are fighting back. But, he adds: “I’m not sure if it’ll be enough. There are competing interests for those kinds of capabilities from companies that are far more capable than ad agencies.”

More on the turmoil in agency reviews reported in the Wall Street Journal.

We interviewed him on at Cannes aboard  yacht for a series on the future  of TV presented by AT&T AdWorks. Please find more videos from the series here



Robert Andrews <![CDATA[Advertising Must Get Back To Creativity: Starcom’s Richman]]> 2015-06-29T01:07:04Z 2015-06-26T10:32:20Z CANNES — These days in ad land, it seems like the only topic in town is data. The transformative potential of data-driven tools has spawned a plethora of advertising technology platforms, allowing buyers to sellers to better mediate the trading and targeting of messages.

For an industry that has always prided itself on creative messaging, this is something of a change. But, just lately, even some of the ad execs who run tech initiatives have started advocating a return to advertising’s roots.

“For the last few years, it’s been very focused on data and technology, for the right reasons,” acknowledges Starcom innvestment and activation president Amanda Richman. “But we’ve lost some of the conversation around ideas and creativity. We need to bring that back in.”

She was speaking at Cannes Lions, the annual ad business get-together in the south of France that prides itself on being the “international festival of creativity”, not science. Richman hopes this week’s event will be a “pivot point” for the change.

“At Cannes, we have the perfect opportunity to align ad-tech and creative, and have a conversation about bringing that together again, to have technology and data actually fuel that creativity, instead of it being polarising it, which has been too much of the conversation over the last few years.”

This interview with Richman is part of a series on video advertising presented by Teads.  For more videos from the series, please visit this page


Robert Andrews <![CDATA[BBC Worldwide’s Gibson Taps Newsroom Values To Tell Brand Stories]]> 2015-06-29T14:27:47Z 2015-06-26T10:27:05Z CANNES — Over the last year, Beet.TV has been reporting on BBC Worldwide’s growing branded content initiative. Now the organization is formalising its offering in a new unit.

Announced at Cannes Lions, BBC StoryWorks is the name of the content marketing that will have offices in Singapore, Sydney, New York and London and will be headed by Richard Pattinson, a former BBC News journalist who, at home in the UK, has edited the corporation’s This Week programme, reported for Newsnight and has been a commissioning editor for global news.

Speaking with Beet.TV, BBC Worldwide’s EVP of international advertising, Carolyn Gibson, says StoryWorks will offer:

  1. sponsored content
  2. branded content
  3. partnered content

“It delivers newsroom values and the combination of creative studio to support our advertisers’ ambitions globally,” Gibson says.

“It’s using the skills and the heritage the BBC is so well known for – producing fantastic content, one of the world’s most trusted media organisations – but leveraging that skillet for our advertisers to tell their stories and engage with consumers.”

At home, the BBC is funded by license fee and is largely forbidden from running advertising on its owned and operated properties by royal charter, which is due for renewal amid speculation of reform. But the corporation is permitted – and, indeed,, encouraged – to make money from operations overseas and from select activities at home through its BBC Worldwide arm, of which BBC Advertising is part.

So far, BBC StoryWorks has worked on campaigns for tourism body Brand USA, in which it created a series of two-minute films that used Hollywood directors to talk about the American landscape and psyche.

We spoke with Gibson for a series from Cannes, presented by Teads.  To find more videos from the series, please visit this page.