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26-11-13
Televisión Abierta y Oportunidades Comerciales Multiplataforma Brian Crotty - Director de Medios
Business is challenging for us all
Media Planning has changed – less reliance on TV
Other video distribution forms slowly gaining traction
Connected TV´s and Smartphones are disruptive
Although TV is still dominant
Trading desks and Data Tools changing the way media is bought
Ratings models being challenged
Beware the Middlemen
Data changing everything –segmentation at scale
Content Management Tools allowing adaptive learning
Content Brands – distributed across channels and forms
Branded content types
Online providing more varied tactics
Relative Value
Traditional product placement
Emerging Options
Outstanding Ideas
Media Agencies
Fee structures
New revenue streams
Contractural KPI´s
Audits
Identity crisis – trying to
cover message planning
& Content
Predictable ratings
Tech Investment
Creative Agencies
Remuneration that
doesn´t value ideas
Verticalisation of
disciplines
Creating engaging
content
Clients
Meeting expectations
Productivity and
efficiencies
Capable partners
In-house vs
outsourced
Losing valuable
customer data / leads
to competitors
Global Management
Building capabilities
Content Producers / Vehicles
Time spent reducing
Fragmenting
audiences
Time shifting
On Demand
Ad Break audiences
Online Video
Middlemen
Measurement
methodology -
consistency
Data ownerships
Full Service Agencies
Contractural islands
Integrated model
Advertising v2013 - Issues
Build engagement and loyalty to repeat content consumption
Aggregate audience to monetise
Build engagement and loyalty to drive demand and purchase
Aggregate and influence audience
Differing POV´s but we want the same thing
Prime Time TV
Cable TV
Off PeakTV
Cable TV
TV Bursts
Cable TV Video
Images
Interactive
Newspaper
Magazine
OOH
Magazine
Web Campaigns
OOH
Magazine
Packaging
Web Site Web Site
Build Awareness Sustaining / Continuity
Channels for tasks
Re
ach
Prime Time TV
Cable TV
Online Video
Off PeakTV
Cable TV
Online Video
POS Video
Online Video Video
Images
Interactive
Newspaper
Magazine
OOH
Magazine
Owned Assets
(Sites, POS etc)
Social
Owned Assets
Search
POS
Packaging
Owned assets
Services
Apps, Social
Search
Build Awareness Persistent environments
Re
ach
Surgical use of Prime Time TV + Persistent presence
Video buys accross channels
Optimising Mix To Get Most Efficient Buy
<- $50-$75 ->
<- $15-$50 ->
<- $15-$50 ->
$10-$50 ->
<- $50-$75 ->
<- $15-$50 ->
<- $15-$50 ->
Video buys across channels – Audience targetted online
can reduce excessive frequency against heavy viewers
NORTH AMERICA EUROPE ASIA-PACIFIC LATIN AMERICA
2013 51MM 55MM 151MM 9K
2014 65MM 70MM 196MM* 2MM
2015 78MM 85MM 254MM* 5MM
2016 87MM 95MM 331MM 8MM
Source: eMarketer, 2012
*Average projection of 2.3% average yearly growth
Connected TVs: Ownership Still Low but growing
Smart TV ownership is high around the world
and is expected to increase through 2016
Latam – 140 Million smartphones by end of 2013
Brazil – Base of 40 Million Smartphones in 2012. + Samsung alone expect to sell 17Million in 2013 / Total market 21.4Million
Mexico – 12.2Million in 2012, 16Million in 2013
Argentina – 5.9Million in 2012
Wifi penetration improving, but affecting more affluent – those than can afford data packages
Biggest disruptor - Smartphone penetration growing
Despite all the hype – Time spent with other
devices still relatively low
63% 4%
4%
6%
11%
12%
TV ABERTA
PAY TV
RADIO
REVISTA
JORNAL
INTERNET
Source: AlmapBBDO: Brazil September 2013
49%
16%
28%
0.44% 1% 4%
63%
4%
4%
6%
11%
12%
TV ABERTAPAY TV
RADIOREVISTAJORNAL
INTERNET
Share of Time vs Share of Investment –
TV still dominates
Source: AlmapBBDO / Intermeios: Brazil September 2013
AUGUST 21, 2013
Here are some facts from Nielsen's Cross-Platform
Report for the 1st quarter of 2013:
• The average American spent about six times more
time watching live TV than on the web.
• 97% of all video was viewed on a television. Less
than 3% was viewed online.
• About 1/2 of 1% of video viewing was done on a
mobile phone.
• Average live TV viewing increased by more than 1.5
hours a month compared to last year.
• 92% of TV viewing was done live. 8% was time-
shifted (DVR.)
• TV viewing remains at record high levels.
TV Dying? More Alive Than Ever
Key findings were that multi-screening means people are more likely to stay seated through an ad break and
therefore increases ad exposure, and that people have always multi-tasked whilst watching TV, having
conversations, interacting with children and animals, reading magazines and engaging in hobbies. It was
found that except for having a conversation, orientation towards the TV was maintained through various
multi-tasking and -screening behaviour. Additionally, multi-screening may enhance enjoyment of television
as devices allow for greater engagement in the program.
Source: WARC - Multi-screen viewing behaviour, Dr Ali Goode and Neil Mortensen, Lingua Brand and Thinkbox
Multitasking is social – People stay in front of TV
MEDIA AND ENTERTAINMENT| 06.05.2013
Over the last six years, TV networks’ Twitter accounts have gone from being little more than
promotional outlets for tune-in messaging to real-time channels for networks and advertisers to Interact with highly engaged audiences.
Evan Silverman, SVP, digital media for A&E networks, says that advancements in social TV analytics are giving the industry a way to
measure the total size of the social TV audience—both those participating in the conversation and those who watch on the sidelines. And
these analytics are making the social TV opportunity real and measurable for advertisers.
At Nielsen’s Consumer 360 conference in Phoenix, Silverman discussed how A&E was able to drive audience engagement for the hi t show
“Project Runway,” which runs on its subsidiary Lifetime network, through strategic Twitter TV initiatives.
When “Project Runway” launched a “Fan Favorite” social campaign, encouraging viewers to vote for designers by using custom hashtags,
the initiative resulted in nearly five comments per unique user—more than the ratio for any other cable TV show at the time.
A&E believes that there should be a premium charge for programming with high social engagement, Silverman said.
“The most important thing we all do is to generate a linear rating for our company. However, social TV is
extremely valuable in its own right and absolutely helps amplify the conversation, helps sponsors participate in
programming,” he said.
Dedicated Twitter accounts are a relatively new industry practice: They became a mainstream in 2007, just a year after the first tweet was
sent in 2006. Last year, social TV took a big leap forward when Twitter launched Twitter Cards, which enabled partners to create interactive
experiences within tweets.
Looking at the results of a new SocialGuide study, viewers spend the majority of their Tweets during program time rather
than during commercial time. The study also found that the share of Tweets sent during commercial time was driven across genres by the share of commercial time
within a program’s airtime. In sports, for example, commercials ran during 24 percent of airtime, and 25 percent of
Tweets were sent during commercial time.
Twitter drives Audience and Stakeholder engagement
Miley Cyrus and Robin Thicke perform at the 2013 MTV VMAs
As a brand that has long had event sponsorship at the heart of its marketing formula, Pepsi
sought a more scientific way to study the correlation between TV viewing and
second-screen usage during live programming. So using research methods such as biometrics, the brand looked at consumer behavior during
the MTV Video Music Awards telecast this past August—the top-rated entertainment program on
cable among viewers aged 12-34 this year, and the most social non-sports TV event.
What emerged were some surprising differences in media usage among millennials. During
pivotal moments of the show—like Miley Cyrus’ twerk-tastic duet with Robin Thicke (which
generated a record 360,000 tweets per minute)—consumers 18-26 immediately shifted from TV
viewing to second screens. Meanwhile, those aged 27-34 stayed with the telecast, waiting to
engage in social conversations.
“The younger group already had their hands ready and immediately went to
social media to start talking,” said Chad Stubbs, senior director of marketing at PepsiCo.
“The show ebbed and flowed, and a key thing we learned was having a brand message throughout the show was important,” he added. “In the
past, maybe we said we would need a big part at the beginning or the end.”
Carolyn Kim, associate director of business intelligence at Pepsi agency OMD, pointed out that while there is not a wide disparity of ages among
the millennial set, continual advances in technology have led to behavioral differences among those consumers.
Consider this: When email became widely available in 1993, older millennials were 11 years old—but younger millennials were just 2 years old.
“Those younger viewers really grew up more with technology as an ordinary part of their everyday lives,” Kim said.
During the VMAs, Facebook was the most popular social media brand, accounting for 41 percent of consumer usage, followed by Twitter with 32
percent. And while Cyrus’ antics burned up Twitter, performances by Justin Timberlake and Katy Perry had fans taking to Facebook to discuss.
Stubbs said he thinks there was a good balance between the brand’s TV and online investment during the VMAs. But he would consider devoting
more resources to monitoring social activity. He imagines a focus group that might include a comic, an industry insider, and key millennials and
influencers in order to explore ways that the brand might respond to ultimate fans. “We know live TV is a place we need to be—it’s still incredible
appointment viewing,” he said. “But it’s not enough for an advertiser to show up with a beautiful ad and wait for everyone to come to it.”
Miley Cyrus VMA – Social Analytics – Valuable Insights
Business is challenging for us all
Media Planning has changed – less reliance on TV
Other video distribution forms slowly gaining traction
Connected TV´s and Smartphones are disruptive
Although TV is still dominant
Trading desks and Data Tools changing the way media is bought
Ratings models being challenged
Beware the Middlemen
Data changing everything –segmentation at scale
Content Management Tools allowing adaptive learning
Content Brands – distributed across channels and forms
Branded content types
Online providing more varied tactics
Relative Value
Traditional product placement
Emerging Options
Outstanding Ideas
How to optimise perishable inventory and the rise
of Agency Trading Desks
Technology Driven buying tools
• Programatic Buying
• Real Time Bidding Systems
• Data Management Platforms
• Content management
Systems
Challenge to optimise yield
without destroying value
Measurement Methodologies under scrutiny
Gross Rating
Points
(GRPs)
Target Rating
Point
(TRPs)
Online
Impressions
Online Targeted
Impressions
Online GRP
(iGRP) True View Value Points
Reach Targeted Reach Reach Targeted Reach Reach Actual Reach Impact of Reach
Panel Limitations, No Exposure
Guarantee Device Limitations, No Visibility Guarantee
Device
Limitations
Infancy Stage
Due to Cross
Media
Measurement
Limitations
GroupM Trading Desk Unveils
Programmatic TV Audience Buying,
Claims Xaxis TV First To 'Sync'
Digital Campaigns With TV Ads
by Joe Mandese, Sep 9, 2013, 8:55 AM
Editor’s Note: The original version story incorrectly implied that
Xaxis TV would facilitate programmatic audience buys of
television inventory, when in fact, it will only utilize TV-like
metrics to target audience-buying in “broadcast-quality”
inventory online. Moreover, ABC has not agreed to incorporate
TV or video inventory as part of its agreement with Xaxis, just
static online display ads. For more about how Xaxis TV actually
works, read an interview with Xaxis’ Brian Gleason in RTBlog.
GroupM’s Xaxis unit, the largest of Madison Avenue’s so-called
trading desks, this morning unveiled its push into programmatic
television audience-buying with a new platform dubbed Xaxis
TV. The move comes as others, including Interpublic’s
Mediabrands, a spate of online video ad networks, and
targeted and addressable TV infrastructure players such as
Visible World and Invidi, have begun accelerating the
development of programmatic exchanges for buying and selling
TV audiences that are akin to online’s.
Xaxis TV, along with a second new platform called Xaxis Brand
Suite, is part of an ongoing push by Xaxis, “the world’s largest
audience buying company,” into traditional media. It previously
developed audience-buying exchanges covering out-of-home,
radio and conventional online video, and now it’s extending its
reach into television.
Significantly, Xaxis claims to have already gained access to
“premium inventory” from dozens of top “broadcast-quality
media owners” as part of its foray into programmatic TV
audience buying. While it did not disclose those partners, it
cited ABC as being among them.
“We are not only creating new channels and formats for
audience buying, we are connecting them, via our DMP, to the
broadcast metrics advertisers already understand,” Xaxis North
America Managing Director Brian Gleason stated, referring to
the acronym that stands for “data management platform," or
the organization that helps trading desks and DSPs identify
which users to target and serve ads to.
“The ability to measure activities across all channels together in
a single location provides a clear competitive advantage for our
clients,” he added.
One thing that differentiates Xaxis' push into TV is its privileged
access to actual TV viewers’ behavioral data via TV set-top
data agreements through its sister WPP companies, Kantar
Media Audiences and I-Behavior. As a result, Xaxis claims to
be “the first solution to allow advertisers to sync their digital
audience buying campaigns with broadcast TV ads and
programming."
Trading Desks - Treading Carefully Beyond Online
Interpublic Strikes Deals
Automating Buys With 5 Media
Giants: Covers TV, Radio,
Outdoor, Display, Video, Mobile
by Joe Mandese, Aug 20, 2013, 8:14 AM
On the heels of last week’s deal naming Adap.tv its
primary automation platform for targeting and buying TV
and video inventory, Interpublic this morning unveiled a
spate of similar deals to automate its transactions with
five big media suppliers traversing TV, radio, out-of-home,
mobile and online video and display.
Details about how the deals would be structured and how
they would work were not disclosed, but Interpublic said it
now has agreements with TV programmer A&E Networks,
cable operator Cablevision, out-of-home and radio
operator Clear Channel, local broadcaster Tribune and
online portal AOL, which is in the process of acquiring
Adap.tv, to supply assets “not previously available
through automated buying systems.”
The initiative, which was developed by Interpublic’s
Mediabrands unit, is dubbed the Magna Consortium, and
is part of the agency holding company’s mission to
automate 50% of its media-buying by 2016.
Interpublic has said it is making the push for several
reasons, including both greater operating efficiency for its
agencies and its clients as media-buying becomes hyper-
fragmented and hyper-complex, as well as greater
precision in targeting audiences it says will result by
shifting from conventional audience-buying data (ie.
Nielsen ratings, GRPs, etc.) to estimates that co-mingle
so-called first- and second-party sources of data in a
manner similar to the way agency trading desks utilize
DMPs -- or data management platforms -- to trade online
audience buys.
“The good news is that our charter members were quick
to sign on to develop a plan forward,” Magna Global
Worldwide CEO Tim Spengler stated, adding: “Our goal is
to ignite real change in the way media is transacted for
the industry.”
While programmatic trading systems are growing fast in
the online display marketplace (Magna estimates this is
currently about 25% of all online display advertising), the
growth has come largely from the emergence of an over-
supply of online inventory and auction-based media-
buying models like “RTB,” or real-time bidding, that many
“premium” suppliers are loath to embrace for fear it will
“commoditize” the value of their inventory.
However, some of the most premium online publishers
now participate in programmatic exchanges, and many of
those deals are not necessarily auction-based, but
function more like private exchanges where sellers can
set pricing “floors” and buyers can set “ceilings" to ensure
that both sides are in control of the process -- even if it’s
being processed by machines faster than humans can
manage such deal-making.
According to Frank Addante, CEO of Rubicon Project,
one of the biggest suppliers of media-buying automation
technology, the speed of such transactions is accelerating
and is now down to 30 milliseconds of processing time for
the average online buy. That’s an improvement from 300
milliseconds a year ago, and three seconds three years
ago, all thanks to improvements in data-processing
technologies.
The advances of such technologies, and the shift among
advertisers and agencies to use them to improve their
efficiency, as well as the data-driven effectiveness of
reaching their audiences, has sparked a gold rush among
media and advertising technology suppliers, many of
whom are now going public. One of the fastest-growing
and most sophisticated of those developers -- Rocket
Fuel, which utilizes artificial intelligence and robots that
can assess and bid for media value faster than any
human can -- is the latest to file for an initial public
offering.
In its filing late last week, Rocket Fuel noted that
advertisers are flocking to its technology, and that its
revenues more than doubled last year -- and more than
tripled during the first half of this one, thanks to a surge in
the number of advertisers using its platform. The filings
said Rocket Fuel currently has 784 advertisers (up from
341 last year), and that many of its existing advertisers
continue to increase the volume they trade via its
systems.
The greatest impediment to Interpublic’s goal of
automating 50% of all its media buys by 2016 is
convincing the most premium suppliers of media
inventory -- especially the major television networks --
that they won’t lose control, or value, by doing so, which
is why A&E Networks' direct involvement is so significant.
That said, at least a portion of all of the most premium TV
suppliers inventory already is being sold through
programmatic exchanges. While it’s not being sold
directly by the national TV networks themselves, the
trading desks of at least two agency holding companies
have already begun utilizing AudienceXpress, a
programmatic audience-buying exchange spun off from
target TV-ad serving developer Visible World. The portion
being traded by AudienceXpress comes from the two
minutes per hour that networks give to local cable TV
operators as part of their carriage agreements. While the
cable operators are supposed to sell that commercial time
to local or regional advertisers, AudienceXpress
effectively pools their national reach into unwired network
buys.
Since it became operational in late January,
AudienceXpress Founder and CEO Walt Horstman
estimates the two agency trading desks that have been
beta testing it have bought 2 billion TV advertising
impressions through it.
The reason why AudienceXpress has been successful
where others, including Google and Microsoft, have
failed, says Horstman, is that its platform is designed to
give suppliers 100% control over the floors they set for
selling their inventory, while giving buyers the ability to
analyze more data that will enhance the value of buying
those audiences from their perspective.
As with online publishing, the supply of unsold TV
inventory also continues to expand due to the emergence
of so-called “long-tail” networks that are not yet rated by
Nielsen, as well as a torrent of free video-on-demand
audience impressions.
Global Ad Buys Might Finally
Become a Reality - Marketing
across borders
By Lucia Moses August 18, 2013, 10:26 PM EDT
When the holding companiesPublicis and Omnicom
announced last month they were joining forces to form
the world’s largest ad agency group, they called it “a new
company for a new world.” Other, hyperbolic terms used
to describe the mega merger included “stunning,”
“seismic,” “a superstructure”—and that was just our own
reporting.
In reality, the concept of global marketing is not so earth-
shattering. It’s been around since the first merchant went
to sell his goods abroad. Yet on a larger scale, global
marketing has been much more challenging—borders
have proven to be barriers. And yet, OmniPubis just the
latest evidence that the global media buy may be
becoming more of a reality.
“We can now reach consumers globally and get feedback
globally,” IAB president and CEO Randall Rothenberg
points out. “Now, fact meets a 30-year-old theory,” he
says, referring to the rise of the idea in the ’80s that in the
age of the multinational corporation and the homogenized
consumer, marketers could (cheaply) sell the world the
same product with the same message—an idea that
would prove easier said than done.
Marketers would come to realize the monolithic global
consumer segment had its limits, as brands found that
translating ad campaigns into other cultures required
more local understanding than they had anticipated. And
even if marketers were set up to buy globally, media
weren’t. Global media conglomerates owned individual
properties that were local, regional or national, and
buying remained a market-by-market transaction.
Enter global digital giants Facebook and Google, enabling
marketers like Nestlé and Nike to reach a wide swath of
consumers. And those properties don’t just afford scale—
with their reams of consumer data, marketers found they
could pinpoint customers and update their messaging in
real time.
Top brands like Samsung, Nike and L’Oréal are already
immersed in digital as a means of getting their messages
out across borders. Most every marketer is at least
dipping a toe in. “Client after client, there’s discussion of
global media,” says Eric Bader, CMO of RadiumOne,
speaking of his previous stint at Initiative. “They want to
lower the cost of putting their message in front of
consumers. That’s what every CEO is tasked to do.”
Whether it’s a new car or motion picture being marketed,
digital offers scale and targeting, points out Carolyn
Everson, vp, global marketing solutions at Facebook.
“Some of the only ways to reach people in the Philippines
is on their mobile device,” she says.
What’s more, digital media present fewer risks with its
consistency of audience measurement worldwide, versus
traditional media and their patchwork of standards market
to market. And media sellers and agencies are setting
themselves up to follow marketers’ global shift online.
Interpublic’s IPG Mediabrands, for one, is creating a new
publishing division that will enable it to tailor global
messages to be distributed locally, in real time. Online
giants are building their digital video ad networks with an
eye on TV ad dollars. Facebook is said to be planning to
sell 15-second, TV-style ads, while Google’s YouTube
has been bankrolling premium channels, and AOL just
plunked down $405 million for a video ad platform.
Among traditional media, TV networks and sports leagues
are teaming up to facilitate global marketers buying major
events like the Olympics. The New York Times is
rebranding its International Herald Tribune as the
International New York Times, and Hearst Magazines has
created a global digital ad sales unit, Totally Global
Media, to simplify sales across sites that reach 200 million
unique visitors worldwide each month. Hearst also plans
to add its international inventory to the private online ad
exchange it operates in the U.S.
“We see these global citizens, people who are consuming
news outside their home country because they may be
traveling, owning businesses in other countries. They may
have family in other countries,” says Andy Wright, group
advertising vp at the Times. “This single brand will allow
us to build on the consumer side, but also on the success
we’ve had with advertisers.”
Even as some barriers to global ad buys have fallen
away, significant ones still remain. Not all clients are set
up to buy and carry out global ad campaigns, and much
of the time budgets are still locally controlled or multiple
agencies work on a brand. The typical ad budget is still
mostly tied up in TV, which is local in nature. And with no
accepted way of translating GRPs to click-throughs, it is
difficult to convert TV dollars to digital—one of the biggest
barriers in the shift to online media. Says Bader: “I think
there’s a lot of spending that could be globally based. TV
has been the last big iceberg that hasn’t moved over yet.”
The creative process also needs to catch up to the global
opportunity. While categories like electronics and movies
might have the same message worldwide, others,
including food and cosmetics, are regionally specific. The
theoretical ease of buying digitally doesn’t negate the
need for messaging to be tailored locally, even in search.
“One size fits all is a massive mistake,” Bader says.
But there’s scarcity in content, says Mark Renshaw, chief
innovation officer at Leo Burnett, whose clients include
global brands like Coca-Cola and McDonald’s. “YouTube
has an unlimited shelf space,” he says. “Brands are still
struggling with global content production. There’s legal
approval, production companies that may not be the most
adaptive. There’s a new dynamic, and we’ve got to
change the way we work.”
The inertia of years past is beginning to change, says
Eileen Naughton, global accounts lead at Google.
Naughton cites recent campaigns like Nike’s “Find Your
Greatness” and Dove’s “Real Beauty Sketches” that the
clients amplified on YouTube after seeing them take off
on social media. “Certain companies operate extremely
well,” she says. “The more sophisticated marketers get it.”
Existing Market Map (Customer Profiles, Media habits)
+
B) Sample of Engaged
Prospesct / Customers Customers that are going to online
environments
A) Predetermined
Segments Market Data on: In Market
Buyers, Shoppers, Demographic,
Behavioural Filters
Retargetting (Multiple Impacts across portals)
Look Alike Expansion (People with similar profiles)
X10
X6
X3
X1
Current Customers
/ Prospects Tag / Cookie online
environments
Segmented Audience At Scale – Reducing Wastage
Richer content form the better
Bandwidth no longer an issue
More relevant – lower quality expectation
Production costs reducing to enable lower cost segmented content
Timeliness – time sensitive content vs evergreen
First 5 seconds essential
Content production quality – Broadcast quality not
always needed
Mass Content
Segmented Content
Mass
Audience
Segmented
Audience
Addressable
Performance based (Geographic, Demographic
Behavioural, Consumption)
Mass
Exposure Based (Geographic, Demographic)
Inefficient
Ideal
A Balance
Most Practical
Test & Learn
Integrating Segmented Marketing to drive performance
Set assumptions in play
Eliminate weakest
Learn, adapt to introduce new options
Eliminate weakest
... Constantly monitor to optimise
Digital Darwinism.....make assumptions.. Set multiple
options in play….strongest strategy survives
Site context - Location - Behavioral
User demo - Client data - Retargeting
Variants:
Ad size
Color
Product
Message
Call to action
Price
Social features
Dynamic Creative Optimization
PORTABLE DEVICES
One of the advantages of the Brazilian digital TV is mobility. You can watch digital TV
through mobile devices such as mobile phones with digital TV, mini-TVs, laptops and
other devices with screens smaller than televisions. Whether you're in a car, bus, train
or on foot: the image is always of excellent quality.
Protecting your content from middlemen
WOM
Trailer
Posters
Merchandising
Film
TV ads
Print ads
Star tours
Directors cuts
Samples
Digital
Games
Making of
Commentaries
User generated
Blogs
Winks
Soundtracks
Ringtones
Wallpapers
PR
Promotions
Casting competitions
Transalation casting 1. Each Film is a business in itself
2. The stakeholder are the business
owners
3. Core idea focus (Start from the
centre out)
4. Core idea scenario testing
5. Process leader / director
6. Consistent branding across all
touch / brand experience points
7. Clearly aligned process (across
multiple specialist suppliers)
8. Content planning (clear / efficient
development plan before channel
selection)
9. Source of innovation based on
ROI
10. Balance of short term and long
term brand needs
Film Marketing: Excellent example of Multiplatform content
Business is challenging for us all
Media Planning has changed – less reliance on TV
Other video distribution forms slowly gaining traction
Connected TV´s and Smartphones are disruptive
Although TV is still dominant
Trading desks and Data Tools changing the way media is bought
Ratings models being challenged
Beware the Middlemen
Data changing everything –segmentation at scale
Content Management Tools allowing adaptive learning
Content Brands – distributed across channels and forms
Branded content types
Online providing more varied tactics
Relative Value
Traditional product placement
Emerging Options
Outstanding Ideas
Leveraged
Leveraged This applies to classic product placement, where a
brand gets value from being inserted into a content property.
For example: Coca Cola on The X Factor (US)
Sponsored
Sponsored This is when a brand supports a property, and gains
endorsement through content: from sports teams, to events to
personalities
For examples: T-Mobile and Katy Perry
Partnered
Partnered This is when a brand collaborates in the development
of a content property and shares production, promotion and
distribution
Eg: IBM and Watson – Jeopardy
Originated
Originated This is where the brand acts alone to create content –
and often involves it managing distribution alone
For Example: Gatorade Replay
User-Centred
User Centred We’re seeing an increasing number of brands
using technology to create content that centres around data and
actions from the user
For Example: Intel, Museum of Me, Lynx
Contagious Magazine Branded Content Segmentation
Benefits Weaknesses
Leveraged
Product placement leverages a content partner’s mass audience
Places product within a core part of the story that reflects usage
Brand can leverage the equity of celebrities within the content
who may be seen to endorse the brand
Reach and frequency prioritised over engagement: what effect beyond
awareness does the strategy offer? Increasingly cynical and astute
consumer culture can easily spot product placement, which erodes the
value of its placement It’s hard to make a meaningful connection to the
audience, and usually fails to ‘add value’ for the user, or viewer / audience
Sponsored
Astute brands that develop content through sponsorship find new
ways to connect fans of a property to their passion Brand should
play a meaningful role in supporting the delivery of the content,
and enhance the experience of engaging it
Whilst sponsored branded content offers brands a chance to present and
distribute content, there may not necessarily be integral to the story of the
content itself Sponsored branded content can therefore often be guilty of
simply ‘labelling’ or badging content
Partnered
Spirit of collaboration between parties offers opportunities to be
more creative with the content created: it should be something
unique Partnership approach should offer opportunities for the
brand to play a more relevant role in the story of the content, and
therefore be more engaging
Much riskier strategy: neither party may be an established content
property in their own right Collaborating parties therefore need to ensure
they are creating an experience that is relevant and engaging enough to
compete with and stand up against more traditional content
Originated
Originated content offers a brand more control and creative
license over what it creates and how it is distributed Best
originated content creates valuable conversations around the
brand or product, and helps the brand to better explore and
explain itself through storytelling
Brand may lack the skills to fully develop stand-alone content Increased
risk of either product being too ‘front and centre’, or its presence too subtle
to generate any sense of meaning or role Some brands miss that the most
interesting thing about originated content will be the conversations around
it – listen, contribute and engage
User-Centred
People innately respond to technology when it reflects their lives
back to them in new ways Whilst these are individual
experiences, people love to share and distribute them to each
other Data exchange: content is driven through data provision
from participant and brand should use this wisely
Privacy and data concerns: many consumers are weary of relinquishing
personal data Current limitations to generating this type of content mean
that a lot of the examples are similar – but this should quickly evolve to
help brands create more differentiated experiences
Contagious Magazine Branded Content Segmentation
Google Segmentation of content types
http://www.youtube.com/user/TheNorthFaceVideo
http://www.youtube.com/watch?v=ruav0KvQOOg
http://www.youtube.com/user/GoProCamera
http://www.youtube.com/watch?v=RP4abiHdQpc
http://www.youtube.com/watch?v=rA7IIHdY6XQ
http://www.youtube.com/watch?v=Xt6at8wCkbw
http://www.youtube.com/watch?v=NLJtCzc5POg
CQC - Pepsi
• All vignettes are original from the TV Show
production and part of the context
• The content of the show is audacious and
witty, aligned with the brand essence
• The sponsorship lasts longer then the buy,
generating lots of productivity
• Alignment with target audience
• Weekly show guarantees constant awareness
generation
Media Delivery & Investment
504 inserts of 5” Vignettes opening and closing the program, and split all over the
network programming
581 30” spots inside the program breaks and all over the network programming
VW Logo along the Football Arena Billboards
Total delivery of 1,114 GRPs weighted in Both AB 18+ during 2013
CPP of R$ 7,450.00 (around 55% less than usual VW BTV CPP)
Investment = R$ 8,3 Million in ‘13 (+18% Vs. VW ‘12 SBT media spend)
Special Projects
Besides the regular media delivery, VW special media proprieties below:
•Team Captain Task: each episode, the winner of this task will be nominated as “O
Cara” and will receive a VW Clamp as the winner of the day;
•Second Screen: along with the BTV programming, exclusive VW digital content and
promotion, will engage the audience and create interactions, asking for tips about
who will be “O Cara” of the that episode;
•Exclusive VW Content: in every final episode, the boys have to go home and return
to the Reality Show in the other day, so, VW will transport them using VW Cars, while
interviewing the boys to hear about their dreams, idols, real life and all that inspire to
become “O Cara” (Exposition in BTV + VW Digital Platforms as YT + FB)
SBT is the
second biggest
Broadcast TV
Network in Brazil
in terms of
audience share
considering total
territory
Source: Ibope Media Workstation – Broadcast TV Nationwide
Period: 28/01 to 03/02 of 2013 / Target: Brazilian Households Criteria: weighted 5” using index of 0,375 Media delivery considering also regular media
along 2013 negotiated along with the media package
All Day Average Audience Participation %
Reality Show “Menino de Ouro”
Thousands of boys in Brazil want to be a football star, and this Reality Show, Menino de Ouro, selected 22 boys (13 to 15 years old) among 10,000 candidates, who will run several eliminating football competition tasks along the program, and only one will become the winner after 12 episodes (March 24th to June 9th 2013), becoming “O Cara”, to be hired by a big football team in the city of São Paulo.
Football DSDS – SBT/Fremantle Reality Show
Fiat debut campaign with Shazam Platform allows
consumers to synchronize campaign through audio
and gain access to extra content
NATHALIE URSINI | » October 22 , 2013
Fiat is Brazil's first advertiser to try the new features
of Shazam . The campaign will debut in Shazam for
TV , was to launch the new Strada 2014 which has
squashed in music and mood communication. The
campaign premiered on television last weekend and
has creation of Fiat Agency , which includes
professionals Leo Burnett Tailor Made and
AgênciaClick Isobar .
A parody of the song Mary, who gained notoriety in
the voice and swagger of Ricky Martin, who leads
the film presents the main new features of the car:
higher volume in the hopper , new design and the
third door. The campaign films for television ,
internet and radio spots .
Shazam – Like a QR code for Audio
Master is Aired,
Signal is Broadcast
Digital signal (Watermark) is
embedded in the master
Mobile App listens,
Recognizes signal (ACR)
1
2
3 Signal triggers events
inside the app 4
Shazam links second screen to TV.
A multi-platform companion viewing
application that syncs to each episode as
it airs, revealing content that provides
depth to each episode and teases out
upcoming storylines.
AXN: Hannibal Second Screen & Social– Empowering
evangelizers / Hannibal Fannibals
Created incredible Fan Art that was shared online
around the world.
Organized a campaign to renew the series, urging
fans across social media networks, and related fan
communities to tune-in!
Images from the Hannibal Tumblr page
We closed an unprecedented project with Globo to create a character in the novella Joia Rara.
Being a period novella, which portrays the culture of the country and of other nationalities, including
Italians, we took the opportunity to tell the story of the arrival of Panettone in Brazil, introducing Mr.
Bauducco in the plot.
Mr. Bauducco - Globo 6pm Novella
Business is challenging for us all
Media Planning has changed – less reliance on TV
Other video distribution forms slowly gaining traction
Connected TV´s and Smartphones are disruptive
Although TV is still dominant
Trading desks and Data Tools changing the way media is bought
Ratings models being challenged
Beware the Middlemen
Data changing everything –segmentation at scale
Content Management Tools allowing adaptive learning
Content Brands – distributed across channels and forms
Branded content types
Online providing more varied tactics
Relative Value
Traditional product placement
Emerging Options
Outstanding Ideas
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