“What we’ve discovered and what some of our receiving partners have come to us with is their issues have gotten more complicated. They have multiple outlets now,” says Extreme Reach CEO Tim Conley.
“They know that we get them the assets with the right quality and the right data ready to go. They’ve asked how to help make these assets available to other platforms” like OTT, mobile and set-top VOD, Conley adds in this interview with Beet.TV.
Buyers and sellers building their own systems for handling ads has created redundancies among brands, agencies, programmers and multichannel video programming distributors, as Broadcasting & Cable reports. Handing creative off to multiple systems can result in missed opportunities to monetize the right content with the right ads.
For buyers, AdBridge enables them to access more detailed locations, Conley explains. “Rather than getting something to the traditional broadcaster and letting them figure out how it gets to the other platforms, from their media buy they can actually decide I’m going to set-top VOD for this, I’m going to the mobile application or the in-app application directly. So our buy side customers and partners have control over that.”
Sell-side users of AdBridge will include traditional broadcasters, “newer media folks” and MVPD’s that are ad-supported.
“What we’re trying to do is help our customers move these things at the speed of media. I buy media but I don’t necessarily have an asset to put in that media right away. So all of a sudden it takes days or weeks to get that asset in.”
Extreme Reach also knows the talent and rights information around a particular creative asset to be able to say “it can be used in this environment but it can’t be used in that environment,” says Conley.
]]>Extreme Reach doesn’t make creative or buy any media, CMO Melinda McLaughlin explains in this Beet.TV interview at the Association of National Advertisers’ first-ever conference devoted exclusively to in-house agencies.
“What we do is enable those stories, in whatever shape and size, to move seamlessly into whatever media placement needs that story to play,” says McLaughlin. “We have this wonderful chance at this conference, and in what we do every day, to sit at the center of connecting the creative with the media and making it invisible to the viewer.”
Amid much talk about workflow and operational efficiency, putting a story on a particular screen and have it play perfectly requires technology that “should recede away and just work. There should be no delays in campaign starting, there should be no ad that plays pixelated because it wasn’t formatted right.”
While many things are subjective, workflow is not, according to McLaughlin.
“Creating stories is an art. Media plans are an art and science. How you move something from one place to another through different paths and processes is not subjective.
“It’s a very repeatable, tactical, executional element,” McLaughlin adds. “What we do is bring technology to the table to make humans better and to do what humans can’t do as fast as they can when they’re at the controls of that technology.”
One of those things beyond the facility of humans is automated and programmatic media buying. “We need the creative assets to be able to marry into those moments as fast as can be. The millisecond is gone if an ad doesn’t play when the ad call comes in.”
When it’s done right, “it does become invisible,” she says.
This video is part of Beet.TV’s coverage of the ANA In-House Agency Conference. This series is sponsored by Extreme Reach. For more videos, please visit this page.
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