Kantar has been collaborating with the ANA to “make sense of all the changes that are happening at marketing organizations” around the world and come up with “some real levers that they can pull that we know have effect and go beyond somebody’s view of what works but actually is data-backed,” says the CMO of Kantar Consulting, Marc de Swaan Arons.

Marketing2020 is led by Kantar Vermeer in partnership with the ANA, Spencer Stuart, Forbes, MetrixLab and Adobe, as well as the World Federation of Advertisers and its organizations in China, Brazil, UK, Germany, The Netherlands, Belgium, Turkey, and France.

In this interview with Beet.TV at the Cannes Lions International Festival of Creativity, Arons talks about the impact of changes in consumer behavior and media fragmentation. “What we’re seeing is that there is growth, but it’s moving to very uncomfortable places for most of the established players,” he says.

Within consumer packaged-goods, known as FMCG in Europe, 90% of the growth over the last five years “has actually been driven by people outside the top 25. In other words, there is growth but it’s being pulled in by other players.”

Big, established companies are finding that their traditional models for marketing and sales are much less relevant in a world where consumers are choosing very personalized solutions and media is fragmenting, according to Arons.

“Our program is a research study that aims to give marketing and business leaders real practical tools” by January of 2019. The study will explain how growth over-performers differ in how they define growth “but also how they build growth strategy, organize for growth and how they build the new capabilities and combine those with the traditional capabilities of marketing and business.”

Early insight from 50 of about 500 interviews with business executives that will be conducted worldwide shows an evolving role for marketing. In the past it was the brand captain. Over the last few years, marketing “evolved into a role of almost the purpose coach, the marketing coach within the organization. Bringing alive the brand purpose, delivering solutions to consumers.

“We see a next step, which is really required, is for the marketers to evolve into the mindset of business owners. It’s all about now what drives growth in a business sense. What drives bottom and topline growth. What drives personal growth for your staff and how do we recruit the best people. It’s much more of an owner mindset.”

By moving from captain to coach to owner, “that’s when you have the invitation in the boardroom to really be a peer. If marketers are seen to be playing with brands with different metrics rather than the hard business metrics that everybody else on the board works with, they’re not part of the team and they’re not part of driving real growth strategy,” says Arons.

This video is part of a series produced by Beet.TV at Cannes Lions 2018 about advertising accountability presented by Mediaocean. Please find more videos from this series here.

Nielsen is about to launch its marketing cloud services in Israel and Australia, where the company is a data provider to joint industry committees for currency measurement services.

“Essentially, in Australia it’s very hard for any marketer who’s looking to make some decisions and who’s looking for the transparency that they need for those decisions to not bump into Nielsen data in every single step of their process,” Petra says in this interview with Beet.TV at the recent Cannes Lions International Festival of Creativity.

In Hong Kong, Petra cites the example of a broadcaster whose assets span print, online, offline and addressable that wanted a total audience solution.

“What we’ve really done is we’ve taken every data asset we have, from the TV audience measurement and online census measurement, we do mobile measurement, Homescan panel and added that to the broadcaster’s OTT and subscriber data,” she says.

“But I think what’s really amazing about the Hong Kong project is that the broadcaster is actually now inviting marketers to actually onboard their data too. And so they really are powering an ecosystem of complete transparency with advanced segments defined by the marketers planned on, forecast on and eventually paid for.”

Outside of the U.S., in many instances markets are organized either through “very formal joint industry committees or, at the very least, through technical committees that we liaise with,” Petra adds.

“We work very closely with these joint industry committees and technical committees, to define standards, to report back on our performance against those standards. And so we really work on the presumption that the marketer is guaranteed of quality because the entire industry has bought into the common standard and common currency that we’re producing.”

This video is part of a series produced by Beet.TV at Cannes Lions 2018 about advertising accountability presented by Mediaocean. Please find more videos from this series here.

These are among the takeaways from a panel discussion at the 2018 Cannes Lions International Festival of Creativity as part of the FreeWheel Forum on the Future of Television. It brought together representatives from OMD, Nissan, true[X] and Wavemaker led by moderator Matt Spiegel of MediaLink.

Wavemaker’s Amanda Richman likened the current wave of video ad format experimentation to the early days of digital media. While there were potentially innovative solutions, they came at such a pace that “you really didn’t get the time to absorb the learnings and focus. So it just became another version of spray and pray with new ad formats,” Richman said.

Her advice to the audience: “You want to choose your partners wisely. Because there is the potential risk right now where there’s a new-ad format fatigue, where everyone is coming out with different formats.”

Alternately, having worked with true[X], Richman suggested focusing on “learnings across a few different formats, understand the measurement, understand the operational impact all the way through billing, because that’s what really matters too when it comes to scaling solutions.”

true[X] President Pooja Midha said that engagement ads only belong in front of truly premium and compelling content, so as to offer a real value exchange. “We’ve done some incredible work with Nissan where we’ve gotten to talk about both a new model, the LEAF, as well as Disney’s A Wrinkle in Time. That’s a lot to get across even in a 30, but when you’ve got this rich canvas you can really go deeper and I think that’s what engagement is all about.”

Allyson Witherspoon, who heads up Global Brand Engagement at Nissan, would like to add value-based ad measurement to the industry’s standard measurement metrics.

“Lead generation is a big thing in automotive, but that may not be the most important metric for an individual experience,” said Witherspoon. “So you have to look at it by experience. If we keep measuring agencies and media performance based on the last several decades, we’re never really going to advanced what we need to do.”

Asked by Spiegel “What do we have to do to be here next year or the year after and this becoming commonplace?,” OMD’s John Osborn said the industry has a habit of productizing new things and then trying to force fit them into legacy measurement. “And the two don’t always meet,” said Osborn. “I think that we need to figure out different ways of looking at different measurement systems that are matched to the types and formats that are coming out faster than ever before.”

One challenge with emerging ad formats is that “everyone’s kind of trying to attack it, but they’re all in their own swim lanes and I think we need to come together. It’s got to be intentional and deliberate and I think we collectively need to come together to tackle it. I don’t think any one party alone can do it,” Osborn added.

Richman described the role that marketer procurement people play in innovation as “huge.” They can either allow spending in new ways “or they can control and say, ‘no it’s year after year, it’s like for like.’ And you’re going to be judged only by the money that you save, which tends to lead just to measurement only being by the CPM cost.

“Until we bring them into the conversation, it feels like we’re still going to have this logjam of only so much money can be spent on innovation because we’re not being judged by anything but pricing,” said Richman.

Witherspoon has made progress on that front because procurement at Nissan has been open to new ideas. “That was kind of the aha moment for me is that they’re actually kind of dying for this innovation as well because they’ve been doing the same thing over and over again they don’t know any different. They were really open to it.”

This video is from a series of videos and sessions produced in partnership with FreeWheel at Cannes 2018 as part of the FreeWheel Forum on the Future of Television. You can find more videos from this series here.

Such was the case at the 2018 Cannes Lions International Festival of Creativity when Marchese was interviewed on stage by Dave Clark, GM of Comcast’s FreeWheel, as part of the FreeWheel Forum on the Future of Television.

Never one to mince words, Marchese described the complexity of trying to figure out just how many commercials a given consumer is willing to watch on a given platform and how sellers like Fox should price newly emerging ad formats.

What’s not complicated is the silent clock ticking in the background for an industry that is known to advance in capsulized increments, according to Marchese.

President of Advertising Revenue at Fox Networks Group, Marchese was blunt about “what sucks” about television. “TV and advertising have been for so long negotiating with each other and they didn’t have to worry about a third party in the negotiation. Building a business model for consumers first, that’s what’s different,” Marchese said.

“Why does anybody like you?” asked Clark.

“I’m not sure anyone does. I say what other people I think are thinking, I hope,” Marchese responded.

The ticking clock analogy refers to the two or three years he estimates might pass “before you start to see massive, tectonic shifts in how viewers behave.”

Clark: “Is there a simple way to think about the amount of advertising that consumers will accept?”

“It’s variable,” said Marchese. “The real problem is we haven’t even gotten to how complex it’s actually going to be.”

Since consumers are not “some giant, homogenous group of people” but individuals who value their time differently at different times, “I think we have to have a test and learn approach to what’s intrusive and what isn’t.”

That approach will reveal that there is content people are willing to endure ads to access “and there’s content people won’t sit through ads to get,” Marchese said. “Google’s already doing this in a lot of places. On YouTube, not everyone sees the same ad load. I think TV has to get a little bit smarter about when and where.”

Asked by Clark whether advertisers are willing to pay more for exclusivity in a commercial break, Marchese said “They have and they are” while noting that Fox’s two-ad JAZ pods “sold out early in the Upfront.”

Nonetheless, there’s no easy formula at this point for exactly how much to charge because marketers in certain categories might be willing to pay more, according to Marchese.

“The real problem is, saying what are they worth or how much more is so relative to who buys it. And so until these things are out there and the market can get set, we don’t know how much more yet.”

As a founder of engagement-ad pioneer true[X], a startup that Fox acquired for approximately $200 million, surely Marchese has some advice for TV networks, said Clark.

“Be prepared to work in chaos, things are going to change,” said Marchese before explaining that companies like Amazon, Apple and Netflix are in the video space “because they want to be the operating system for peoples’ lives, but people choose their operating system based on where the best stories are.”

Citing FX, Clark asked whether the highly awarded network holds lessons for other networks. Marchese said it was among the first to abandon the model of producing cheap programming in bulk to fill a 24-hour schedule. This helps to explain why when it comes to Emmy and Golden Globe awards, the most have gone to HBO, Netflix and FX, “and only one of those still sits on a cable-operated system, ad-supported,” Marchese said.

Asked by Clark whether he’s worried when he sees people like Shonda Rhimes leaving ABC and Ryan Murphy exiting Fox to join up with Netflix, Marchese said Ryan indicated that interruptive ads weren’t his main motivation.

“Shows had to be exactly 42 minutes and the episodes had to have exactly these arcs,” Marchese observed. “Then you add in the fact you’re scheduling to a clock that has ads in very particular breaks. When they add a new break, they actually have to add a new act to the show and that’s a lot of actual work and creativity.”

On a positive note, Marchese said that when Fox announced its JAZ pods, Seth McFarland said he wanted them for the entire season of The Orville. “That’s a creator being excited about a better ad system,” said Marchese.

This video is from a series of videos and sessions produced in partnership with FreeWheel at Cannes 2018 as part of the FreeWheel Forum on the Future of Television. You can find more videos from this series here.

Garbaccio, EVP, Advertiser Direct & Marketing Cloud, is working with Sony Crackle and much of its connected TV inventory to better monetize it with addressable programmatic targeting. Nielsen and other data are used to transact on media that’s owned and operated or exclusively operated by Crackle.

“What we see the DMP as really is connective tissue between data assets and measurement assets, with the brands being directly in the middle,” Garbaccio says in this interview with Beet.TV at the recent Cannes Lions International Festival of Creativity. “If you want that connective tissue to work and to be valuable for the brand, you need the best data that exists. Transaction-based data, census-based, owned and operated exclusively through Nielsen, and you need to be able to then activate and measure that.”

Advertisers will now be able to reach specific audiences across Sony Crackle content as well as the Sony Crackle Plus Network, including Funimation and Sony Pictures Television Mobile Games. With Nielsen AI, Sony Pictures Television will be able to optimize addressable audiences based on real-time changes in consumer behavior on behalf of its clients, according to a news release announcing the deal between Sony and Nielsen Marketing Cloud.

The Nielsen DMP “allows you to see the data but then also see it as the campaigns run, and get closed-loop feedback. That feedback allows you then to measure and optimize those campaigns. So it’s really an end-to-end cycle that really our DMP allows us to do,” says Garbaccio.

His way of simplifying the semantics of what constitutes connected-TV or OTT viewing is to view it simply as media. “It’s a new, different type of media just like mobile was, back in the day display, and even linear TV. We’re not there yet, but I want a world of when you create audiences, whether with first or third party data, and push them out for targeting or activation.”

It should be viewed as “one centralized ID that can be across all media. So we see connected TV or over the top television as no different,” Garbaccio adds. “It’s just right now is very early, the scale is not there like it is potentially in linear TV or even mobile. But we think that it’s going to be there and you need that underlying ID and that technology in order to make any of those things happen.”

This video is part of a series produced by Beet.TV at Cannes Lions 2018 about advertising accountability presented by Mediaocean. Please find more videos from this series here.

But until recently, data from those cards has taken a back seat to the traditional buying and selling of TV ad inventory. According to Nishat Mehta, President of IRI’s Media Center of Excellence, the industry had been on a trajectory that simply wasn’t sustainable.

“The notion of accountability starts with making sure that the consumer was receiving what we thought was best for them, and then second that what we think is best for them is actually based on accurate knowledge of who that consumer is,” Mehta says in this interview with Beet.TV at the recent Cannes Lions International Festival of Creativity. “And I think we had been following a path where neither of those was really being met. That ultimately leads to a consumer who is angry at the advertising industry and ultimately will shut us off.”

Mehta considers the new European Union GDPR initiative to be a “multi-year effort to clean up the industry” and the challenges of Facebook and other digital companies as paving the way for needed changes. Namely, to take lessons from digital targeting and bring them to TV.

“We believe very strongly in the notion of optimizing linear TV,” he says.

And while he’s hardly the first to suggest that age/gender demos for TV targeting are past their prime, IRI is offering “a set of capabilities focused around data and accurate data to the market that allow television to now be bought on sold on what people actually do rather than what we think they do.”

This is where data from the nearly 400 million loyalty cards come in, representing about 110 million households. “We have significant penetration across virtually every household in the U.S. about the types of products that they actually purchase in the physical world,” says Mehta.

Asked to summarize his Cannes experience, he thinks it’s shifting more toward adtech and “a little bit away from the actual advertisers. I hope that’s not a trend we see going forward. I hope we do see some balance coming back.

“I think we need to continue to remind ourselves who we work for. At the end of the day, it’s the consumer represented by the advertiser and if we don’t watch out we’ll lose track of that.

This video is part of a series produced by Beet.TV at Cannes Lions 2018 about advertising accountability presented by Mediaocean. Please find more videos from this series here.

At the recent Cannes Lions International Festival of Creativity, Witherspoon was one of four panelists who discussed new video ad formats and how creative and media agency professionals are working more closely together to build stories relevant to specific audiences. It was one of several discussions at Cannes under the auspices of the FreeWheel Forum on the Future of Television.

Moderator Matt Spiegel of MediaLink kicked things off by asking “How much more will you pay for a non-standard ad?”

Responded true[X] President Pooja Midha, “It’s how much more will you pay for impact. Non-standard, who cares?”

That’s where things got complicated, as Witherspoon explained. “It’s difficult, because sometimes you don’t always know what the outcome is going to be. Within this campaign or within each kind of percentage of always on, what amount of that is going to be something that you’re going to be testing.”

Which is where Nissan’s “pilots” come in and how testing is needed to help change the thinking within procurement. “Once you take the results from that, how do you actually start to scale that? I think that’s when you can start to advance the financial discussion, once you’re able to show that impact across, in the case of Nissan, all of our models, across all of our markets, that’s a very powerful discussion to have,” said Witherspoon.

Wavemaker’s Amanda Richman said the test-and-learn approach also needs an activation plan. “So as you’re presenting a learning road map, you actually can say, ‘if this works we’re going to scale immediately.’ We’re not going to wait and have another committee meeting, it’s not going to be three months. Turn on a dime and then roll on to the next test.”

Along the way, people on both the creative and media side need to come together more than ever, said John Osborn, CMO, OMD USA, because media plans traditionally have been built in a process wherein storytelling has been relegated to creative agencies.

“There’s a gap in between, which is story building, and I think it’s amazing what happens when you get tight teams sitting together, working together from the onset, as opposed to the traditional iterative process where sometimes media comes in late in the game,” Osborn said.

He described the process with Nissan, TBWA and OMD “literally welded together at the hip, working on which types of data will better inform the right kinds of storytelling.”

true[X] does real-time creative optimization for Nissan as it simultaneously measures real-time brand lift. “We launch with one version of an engagement, and as we see the data coming back we’re able to actually build with Nissan and its agency a more elaborate version, or a version that lets you go deeper or let’s us hone in on what we see really lifting,” said Midha.

Spiegel wanted to know whether creative personalization is right for all brands, particularly the biggest ones with the widest target audiences.

“One of the things we’ve seen across the tens of thousands of engagements we’ve built is that strong, persistent branding, even for very, very well advertised brands, is really important in actually driving results for them,” Midha said.

Richman related that one of Wavemaker’s clients describes its target audience as “anyone with a mouth.” Still, such a brand might need to achieve relevance with a new generation of consumers or could be missing opportunities for frequency or selling across its whole portfolio.

“A level of personalization may not be one hundred segments, but looking it from the lens of two or three it will drive the business forward,” Richman said.

The panelists agreed that campaign measurement will continue to be one of the biggest challenges, given cross-platform content consumption. The fact that advertisers and publishers alike recognize this and want to change old habits, there are fundamental barriers that will take time to overcome.

“Right now, to launch anything, for example inside of CTV, which is such an important environment, it’s not one platform. It’s a bunch of different devices that are all built on different code bases. It’s not simple,” said Midha.

As the discussion shifted to things like total ratings points and sound media strategies, Osborn summed things up by observing “Sometimes, we get so wrapped up in the media jargon there’s a great brilliance in just thinking as a human would think.”

This video is from a series of videos and sessions produced in partnership with FreeWheel at Cannes 2018 as part of the FreeWheel Forum on the Future of Television. You can find more videos from this series here.

That doesn’t seem about to change anytime soon judging from a one-on-one interview with Marchese, who is President of Advertising Revenue at Fox Networks Group, and Dave Clark, GM of Comcast’s FreeWheel, at the 2018 Cannes Lions International Festival of Creativity. Part of the FreeWheel Forum on the Future of Television, the discussion did point to some amount of certainty.

For example, the futures market for national TV inventory known as the annual Upfronts isn’t going away anytime soon, for the simple reason that it protects buyers from price increases the way airlines hedge their bets with oil futures. The process is also something of a comfort to sellers, particularly those with the most coveted (and limited) ad avails.

The search for unification among TV sellers came about because of the digital age, according to Marchese.

“What we’ve never had to compete on before was what the currency metric was because we had Nielsen. People could complain all day about Nielsen, but at least it was consistent for everyone who was trading on it,” Marchese said.

Digital media introduced cost-per-view pricing, but when TV tries to create a new product, “everyone’s like, ‘cool, how does that fit in with what I paid you last year?’ There’s just no consistency.”

Fox has been pushing hard to establish new ad formats while reducing overall commercial load, “But if we do it alone, it won’t matter. You can’t create a market and you can’t understand what the market price of anything is if there’s only one person doing it,” said Marchese.

Given the difficulty in pricing new ad formats in something approaching a consistent manner, the lack of a common market will sow pricing disagreement. “Until then, opinions will differ. And then depending on the creative, one of us is right and one of us is wrong.”

Clark noted that the industry is will run by people who have been at it for two or three decades and asked Marchese what leadership traits and characteristics are most important.

“We need to understand that we’re just used to fighting over things because that’s just the way it was done. We’re used to negotiating with agencies over every penny because that’s just the way it was done.”

Now, in some ways, everyone’s on the same side of the table. “We have the same goal, that we would like to not kill long-form storytelling as an advertising vehicle,” Marchese said.

Responding to a question from the audience about the long-term viability of the TV Upfront, Marchese said he doesn’t think it will die. “I actually think we just get better at predicting where the inventory is going to be.”

Between now and then, he believes the “dumb definition” of a CPM—an impression is an impression—will yield to something akin to the real estate market.

“We analyze real estate not just for the square footage but for where it’s located, what are the amenities, who are the neighbors. There’s a bunch of things we do.”

This video is from a series of videos and sessions produced in partnership with FreeWheel at Cannes 2018 as part of the FreeWheel Forum on the Future of Television. You can find more videos from this series here.

“What we’re hearing from buyers and even from a couple of the sellers is that there hasn’t been a lot of momentum in transaction as folks would have hoped in this season,” Prohaska says in this interview with Beet.TV in which he also discusses the early impact of the General Data Protection Regulation in the European Union.

Another hot topic at Cannes was “what we politely call next Nielsen, and next Nielsen could involve Nielsen obviously, but sort of what’s next beyond age and demos,” he adds.

OpenAP is not yet one year old, having been announced by Fox, Turner and Viacom in March 2017 and activated that fall, so the current Upfront is its first. Earlier this year, NBCUniversal joined in, as did Univision.

“What we’re hearing from buyers, and even from a couple of the sellers is that there hasn’t been a lot of momentum in transaction as folks would have hoped in this season,” Prohaska says.

He cites comments by, among others, OMD’s Chris Geraci—who was Prohaska’s boss at BBDO back in the day—to the effect that “there’s some usage there. But the real upside of being able to have proprietary data sets that you keep as a buyer or seller but be able to dip into this great pool and leverage these standards that have been worked on for awhile hasn’t fully been realized yet. I think there’s a lot of energy and excitement about trying to do that more while the legacy television and advanced television buyers and sellers sink their teeth into this marketplace.”

At the outset of Cannes, Prohaska heard of “a couple other” media that should be joining OpenAP in next couple of months, “and that’s all great. But not as much transactional, put to use on a campaign-by-campaign, brand-by-brand basis yet.

“We think we’re sort at that start of the hockey stick and hopefully next year this will become just become the way everyone does business in advanced television and we hope to be helping with a couple of our buyer clients and then one or two sellers maybe, we’ll see.”

GDPR has impacted the EU temporarily, but while many people still think of programmatic in traditional display mobile as sold by open auction, Prohaska says that’s not the case.

“Fortunately, what we’re seeing is a strong move to PMP’s in digital, strong move to deterministic versus probabilistic data strategy. As we’ve been saying for about a year, classic short-term pain for sure with a lot of organizations but long-term upside.”

Prohaska Consulting recently signed its 260th client in the company’s 230th week of business as it expands globally, with its publisher practice representing one-third, tech-one third, the buy-side 20% and the rest investors and trade groups. “Fortunately, that idea of kind of helping everyone move forward under the prism of client first and if we’re there to receive some thanks and compensation, great. It’s been paying off,” said Prohaska.

“Transparency is unquestionably the table stakes at this point,” O’Grady says in this interview with Beet.TV at the recent Cannes Lions International Festival of Creativity.

“It’s a lot more than viewability, it’s a lot more than preventing fraud. Everybody along the supply chain is responsible for transparency. I really think we’ve hit a tipping point where everybody is acknowledging that we’re all collectively responsible.”

He feels that Nielsen is in a unique position because its data offerings combine television ratings, digital ad ratings and purchase insights from consumer shopping panels. For marketers, everything should add up to top quality in both data and match rates.

“If it isn’t, you just have to acknowledge and be transparent with what can work and what does work. The responsibility is across the whole supply chain,” O’Grady says.

Cross-screen measurement and cross-screen access to advertisers has changed dramatically, he adds.

“I really think we’re at an inflection point for TV or TV content, premium video content, we can measure it. We have a holistic means to measure the impact across all these different channels and then add it up.”

O’Grady considers blockchain technology for advertising and media to “potentially be a very valuable tool” whose true utility remains to be proven. “It’s just not known yet.”

One key promise of blockchain is the security of data that blockchain participants agree to share. “I think there’s great promise there. But it’s very early stages.”

O’Grady likens the industry’s interest in blockchain to artificial intelligence and virtual reality “and I’ve yet to see an application for the advertising ecosystem that’s truly made an impact. Maybe on the creative side it has.

“But if blockchain’s really going to manage or improve that work stream, particularly in the programmatic space, there’s great need for improvement.”

This video is part of a series produced by Beet.TV at Cannes Lions 2018 about advertising accountability presented by Mediaocean. Please find more videos from this series here.

His take on the media supply chain strikes a familiar and recurring refrain. “When you think about all the people that touch that food chain, we’ve got to get to a much better place in terms of performance metrics and transparency,” Koenigsberg says.

He defines transparency as “all sides sharing information. If we can get to the that place, I believe that the seller community, the publishers, the linear TV suppliers, the other platforms will end up all working toward business outcome solutions for clients.”

Koenigsberg differs from many in advertising and media who have been advocating for a uniform way to measure campaigns across media and platforms. He envisions a far more fluid landscape.

“You may end up having 100 different metrics, all these different KPI’s, but that’s fine. I think AI will help that. And if we can move in that direction, that’s where the world needs to go. That’s where the business needs to go.”

After building Horizon for the past 29 years based on an integrated business service model rather than the a la carte offerings of the biggest holding companies, Koeingsberg’s creation is now ranked #2 in the U.S. in terms of scale. However, with the rise of digital media, scale isn’t the be-all-end-all it was touted to be a decade or so ago.

“I’d rather be ranked in terms of being best in general as opposed to scale, because I don’t think scale says it all,” he says.

He ticks off a list of holding company legacy shortcomings and figures that the model he chose happens to be “the model of today.” But he’s not fully satisfied.

While being consistent has helped, “If anybody thinks that once they’ve reached that plateau they can rest on their laurels, that’s the time to change. We are relooking at our whole structure today.”

If he were to start from scratch, he’d want even more integration. “I believe that our teams should be led by business solution experts. I believe that the business solution expert should own everything. Content, data analytics, insights, tactical planning, data analysis with one cohesive integrated group.”

This video is part of a series produced by Beet.TV at Cannes Lions 2018 about advertising accountability presented by Mediaocean. Please find more videos from this series here.

“It’s still very cumbersome and difficult for advertisers to buy TV across screen and we all on the inside know the labor and intricacies of those challenges,” says Joy Baer, President, FreeWheel Advertisers, FreeWheel, which is a Comcast company.

FreeWheel Advertisers processes roughly one-quarter of total U.S. ad spend annually, servicing 7,500 media buyers at 1,200 media buying agencies and in-house advertisers in the U.S. and Europe. In this interview with Beet.TV at the recent Cannes Lions International Festival of Creativity, Baer explains the ramifications of cross-screen buying challenges for her clients.

“They in turn create real significant margin problems for the agencies because they’re under such pressure to begin with. Their only solution to really solve for TV meaningfully is to throw additional investment and throw additional bodies at the problem.”

FreeWheel Advertisers is bringing to bear measurement and technical capabilities “so that TV can be as easy to buy as a spot was fifteen, twenty years ago,” says Baer, who started at Strata in 2007.

Many agencies maintain a completely separate digital department while using a whole host of tools to buy digital media, and there’s a crossover. “The digital platforms that they use in the space are DSP’s and DMP’s to help them target and make sense of different audiences and make sense of the data that’s available out there to target television today.”

Nonetheless, it’s not enough to reach “the real living room, to actually get to where television has its largest impact,” Baer adds. “We have to get to a cross-screen solution and combine the capabilities of these DSP’s with our platforms that work so well in linear. And that’s exactly what FreeWheel and FreeWheel Advertisers endeavors to do.”

This video is from a series of videos and sessions produced in partnership with FreeWheel at Cannes 2018 as part of the FreeWheel Forum on the Future of Television. You can find more videos from this series here.

As Masters Circle was being established in the U.S., the ANA “started to recognize fundamental flaws in the way we manage ourselves,” says the organization’s CEO, Bob Liodice. “We’ve lost sight of being able to pursue brand and creative excellence. We’ve lost sight of our efficiency and our infrastructure,” Liodice says in this interview with Beet.TV.

The 12 pillars of the Masters Circle are based in large part by the fact that about half of all Fortune 500 companies have declining revenues and after-tax profits, according to Liodice.

“We can interpret that lots of ways. But in many ways, it’s an indictment on our marketing system. It could be one of the reasons why CMO tenure is as short as it is.”

The 12 pillars of Masters Circle are:

Advocacy; Brand and creative excellence; Brand safety; Digital media supply chain; Future growth; Gender equality; Inclusiveness; Measurement; Media transparency; Organizing; Purpose; and Talent development.

“To be a transformative force, you have to focus in on the one or two significant issues perhaps in all of the areas and attempt to make a difference with them,” Liodice says.

He cites as an example the joint effort by the ANA, 4A’s and IAB to combat digital advertising fraud under the auspices of the Trustworthy Accountability Group (TAG).

“What we needed to do was create an institutional presence that allowed for confidence to grow in the entire digital supply chain that we could attack fraud at its roots.”

As a result, research has indicated that ads that go through the TAG certification process show an 84% improvement in fraud rates versus the general market.

“That’s the type of progress we’re looking to make,” says Liodice.

This video is part of a series produced by Beet.TV at Cannes Lions 2018 about advertising accountability presented by Mediaocean. Please find more videos from this series here.

“So now we’re talking about what’s the right messaging format, how do you tell interesting stories,” Spiegel adds in this interview with Beet.TV at the recently concluded Cannes Lions 2018.

Such discourse generates lots of discussion about, among other things, interesting new ad formats, the role of engagement ads in television, more precise micro segmentation and ad sequencing.

There’s another side to the coin that is a rapidly changing television landscape, according to Spiegel. “The business of television is certainly dealing with figuring out how to equal itself as a platform at scale, much like you’d see from Google and Facebook. In many ways, television today already drives more scale, but for marketers they want to figure out how can I buy against many audiences in one simple way.”

A lot of what was talked about at Cannes is how the business of television is “evolving to do that, and how are the various traditional competitors playing enough together to enable that. I think that’s a good hot topic as well,” says Spiegel.

On the subject of ad loads, keep all eyes on consumers, because “millions and millions” have voted that they prefer an ad-free experience.

“The dichotomy from ad-free on hand to the traditional broadcast model on the other, which is as much as twenty percent out of an hour of content is commercials, is the other extreme. I think that choice for consumers is pretty easy.”

So there’s little doubt that the “ecosystem of media companies” understand that they need to shorten formats, create new ad experiences and rethink how they make the exchange between content and advertising. What will the impact be on media company revenue?

“I don’t think that’s fully solved. I don’t think anyone would tell you on the sales side that they have that question fully answered. But I think they realize they’re going to have to experiment,” Spiegel says.

“And maybe there might be some short-term up and down pain, but I think there’s also the reality that marketers are willing to potentially pay more for things when they have less clutter and they’re more engaging.”

Proving paying more is worth it falls to measurement, particularly when it comes to marketers’ procurement teams.

“You’ve got to bring procurement departments along to make sure it’s not only about cheaper, it is actually about more effective,” Spiegel says. “These things are alright and I think we’re going to get there, but I think as you point out we’re in for probably some years of some bumpiness as those revenue shifts kind of shake out.”

This video is from a series of videos and sessions produced in partnership with FreeWheel at Cannes 2018 as part of the FreeWheel Forum on the Future of Television. You can find more videos from this series here.

“There are a lot of us that are hungry for different solutions to get it right with how we need to go to market,” she adds in this interview with Beet.TV at the recent Cannes Lions International Festival of Creativity. “We value the consumer experience. We value our relationship with the consumer more than anything.”

Companies like L’Oreal want to “get it right moving forward,” including messaging and creating meaningful engagements with consumers, according to McHugh, who believes “there’s great learning” that can emerge from working together.

“I think that we need to be part of the piping part, not just the ‘here, we’ve got a solution for you. Isn’t it great?’ And it works for the networks and maybe it’s not so great for how we would want to go to market. I think that is huge and I think we’ll get there together.”

What she’s seeking is a true partnership with the sell-side in a test-and-learn-together mode. “We rely very heavily on our agencies and they should absolutely be at the table as well, but marketers need to more and more be at the table and we’re hungry for that.”

At last year’s Cannes Festival, L’Oreal revealed that it would experiment with Google Labs on six-second creative spots. As BusinessInsider reports, the companies would work together to examine data on what people are engaging with on YouTube so that L’Oreal could produce timely, six-second ads running prior to content on the video platform.

“We also do tutorials that run much longer,” says McHugh. “It should be about the consumer experience and what they’re looking for and the value exchange between the messaging and what you’re providing and whether or not it’s valuable to the consumer.”

While 30-second ads play a certain role, “it’s certainly not the be all and end all and we need to test and learn our way into the future.”

This video is from a series of videos and sessions produced in partnership with FreeWheel at Cannes 2018 as part of the FreeWheel Forum on the Future of Television. You can find more videos from this series here.

“Chances are, we’ve probably done some work for someone with a similar objective or we’re actually working with an ad studio that has the creativity, the flexibility and the prowess to help them think through how we can do that in our ad format.”

Just after the Cannes Festival concluded, true[X] said that it has reached a one-year deal with GroupM digital agency Essence to develop and test new approaches for connected TV advertising. As Advertising Age reports, the aim is to develop consumer-friendly and compelling brand experiences that can scale to connected-TV offerings like Roku and Apple TV. In addition, Essence will be the first agency to access engagement ads programmatically.

At Cannes, true[X]’s focus on brand lift as a measure of success “is really resonating here,” says Midha. “There’s no better personal primetime than the OTT viewing we see happening across our publisher partners.”

Asked to comment on developments in OTT measurement, Midha says, “It’s unfortunate that it’s a little bit nascent because it’s such an incredible viewing environment. There’s a lack of standardization in those platforms. Each one is a little bit different, which makes rolling measurement across very difficult. It’s not something that’s happened quickly.”

True[X] has already built a measurement tool that can live in all OTT environments called Uplift, which measures brand lift.

“Because if you want to create a brand, you need emotion. That’s the difference between a brand and a product. The first thing you need to do that is you need to have attention, which is what our format is about, and once you have attention you want to make sure you’re lifting your brand and you’re having impact. We’re trying to follow the whole thread.”

This video is from a series of videos and sessions produced in partnership with FreeWheel at Cannes 2018 as part of the FreeWheel Forum on the Future of Television. You can find more videos from this series here.

“The digital ecosystem is fraught I think, as we’ve all seen with a host of challenges,” says the VP of Global Media. “We believe that the blockchain is a potential opportunity to help give us a better understanding of how the whole ecosystem works and really empowers us to make better business decisions as we go forward.”

In this interview with Beet.TV at the Cannes Lions International Festival of Creativity, Master talks about Unilever’s efforts to monitor ad viewability, weed out non-human traffic and seek brand-safe environments. “There’s a host of things in that ecosystem that we’re tracking,” he says.

He’s hoping blockchain will provide a more efficient and effective way to manage and monitor the whole process.

“It really starts with us as the advertiser with that dollar, and how much of that dollar is actually spent showing our great creative to the consumer. Where along the way are we spending that dollar to make sure it gets to the consumer in an appropriate way?”

Given the circuitous route that “a great piece of creative” can take on its way to a publisher and, ultimately, an audience, “Along the way I think there’s a lot of different things that have to take place to make sure it’s seen by humans.”

Gaining a better understanding of how the amount money invested with various publishers and platforms actually performs will help Unilever determine which ones are most valuable. “And it allows us to prioritize our dollars,” says Master.

“We spend a dollar and a host of things have to take place to understand how that dollar’s being spent. If we could do it much more efficiently and effectively, we could understand much quicker what’s working and what’s not.”

As it stands, it’s not uncommon to be waiting “waiting weeks or months to understand what was spent, whether it was seen. In a potential blockchain solution, we could do it in a matter of hours or days and the efficiency of our spend becomes that much better.”

This video is part of a series produced at Cannes Lions 2018 on the emergence of blockchain in the media ecosystem. This series is presented by Mediaocean. For more videos from the series, visit this page.

When she eyes the video landscape, Richman sees it evolving toward the opportunity for more precision targeting without taking away from the scale “that all the big players and certainly the television networks bring to the party.

“So it’s starting to shift from the conversations that used to happen that really separated the two worlds of digital and linear,” the U.S. CEO of the agency Wavemaker adds in this interview with Beet.TV at the Cannes Lions International Festival of Creativity.

Guided by data and a better understanding of where audiences are and how they’re consuming video, Wavemaker’s focus on the purchase journey and where people are consuming video within the journey “creates just much more fluidity in how we can think about budgets, how we think about planning and connecting at the right time.”

These insights also fuel conversations with creative agencies “to make sure it’s not just about where we’re connecting with the consumer, but what’s the right messaging that’s really going to draw them in.”

Looking at learnings from, say, feed consumption of video or OTT viewing can be scaled across other platforms and “it gets much more interesting from a sense of how do you plan for that engagement and plan the right message,” Richman says.

Asked about Wavemaker’s interactions with creative agencies, she says the main goal is to get insights faster and integrate them into story and message development. “That is fueled by often the media agency’s data inputs and for Wavemaker, it’s thinking through momentum and our purchase journey understanding and the database of data points that we have that can then fuel more insights into how to connect and what message to deliver.”

Providing its data assets to a creative agency “gives them a deeper understanding of the consumer than they might have typically gotten on a brief from a client and that’s where the magic starts to happen.”

This video is from a series of videos and sessions produced in partnership with FreeWheel at Cannes 2018 as part of the FreeWheel Forum on the Future of Television. You can find more videos from this series here.

“Accountability in marketing to me means growth. Ultimately, I think marketing are the growth architects of the business. Every thing we do should inspire, lead and shape towards that growth vision,” Wakely adds in this interview with Beet.TV at the Cannes Lions International Festival of Creativity.

Being a self-described “evidence-based marketer,” the company has made it “a bit of a life mission to identify what are the key levers of growth at Mars,” says Wakely, who expects her marketing teams to be “enterprise-wide leaders and to really influence the growth agenda at the board.”

Having consulted with Wharton and other institutions, Mars did a deep dive on what makes some 50 global product categories grow, along with the brands within them, according to Wakely, who spent several years at Procter & Gamble before joining Mars in 2001.

“And from that we’ve tried to distill a very clear philosophy of growth, which of course advertising plays a big part in, but it’s certainly not the only lever for growth,” Wakely explains.

The company codified its resulting “Laws of Growth” philosophy into an operating model that identifies “all the key levers we think that grow categories, that grow our brands, and our whole business now cross-functionally is geared toward driving into that operating model for growth.”

Asked about established brands versus startups, Wakely dismisses provocative headlines proclaiming, among other things, the death of big brands or the demise of mass advertising.

“The question we asked ourselves as an evidence-based marketing company is what is real, changing dynamics in the marketplace that we need to address and what is hashtag fake news,” she says.

Having analyzed its 20 top markets and 35 categories, Mars found on average that about 50% of category growth is being driven still by big-scale brands and the other 50% by small, more disruptive players.

“That is a dynamic we need to respond to. But what I would say is that big brands are certainly not dead. There are big brands that are winning and there are big brands that are losing.

“To win, we really have to harness what we know drives growth. Mass penetration, mass reach, mass distribution. But we also have to be very agile and innovative to respond to the new digital age.”

This video is part of a series produced by Beet.TV at Cannes Lions 2018 about advertising accountability presented by Mediaocean. Please find more videos from this series here.

“We have GRP’s, we have declining linear audiences around 18-34 and we have the unreachables that are on non- ad-supported platforms or non-measured platforms,” says Fiona Carter, Chief Brand Officer, AT&T Communications. “So what are we going to do about that? How are we going to move to an all-screen measurement that works across all of the networks, all of the digital players?”

In this interview with Beet.TV at the Cannes Lions International Festival of Creativity, Carter applauds the coalescence of competitors joining forces to facilitate not only reach and engagement with audiences but also the ability to measure the ROI of those engagements.

“In the end, although we’re very keen on brand building and we’re very keen on measuring how well our brand engages with our audience, we’re also here to sell at the end of the day,” Carter says. “And so trying to get the ROI out of everything we do so that we can prove we’re an investment and not a cost I think is an ultimate goal for a CMO.”

Among the offerings at Cannes, she identifies artificial intelligence from IBM, Quantcast and others as “one of the most fascinating conversations here at Cannes.” She echoes the desire to harness AI to improve marketing while wondering about its impact on advertising creativity. “Can they coexist? Can machine learning actually inspire greater creativity or will it be the end of creativity as we know it.?”

Asked for her thoughts on blockchain technology, Carter says AT&T is “doing a lot on blockchain” while noting that “everyone understands the murkiness of the digital advertising ecosystem. As a marketer, I feel many of us have been asleep at the wheel in understanding when our budget goes in through our agencies how much comes out to meet the publishers and eventually the consumers.”

She praises “these companies that are trying to help us work out the tradeoff of all of these service taxes and tolls and what the value is ultimately and frankly what the real price of operating in the programmatic supply chain should be.”

This video is part of a series produced by Beet.TV at Cannes Lions 2018 about advertising accountability presented by Mediaocean. Please find more videos from this series here.

In this interview with Beet.TV at the Festival, Seiler talks about the speed needed to deliver creative in real time and the utility of such technologies as artificial intelligence, artificial reality, virtual reality and blockchain.

On the issue of speed, there’s some catch-up needed between desire and reality, according to Seiler.

“Once you’re at the right person, what do you want to say to them and how much can you change that up to ensure that you’re getting the right message to the right person in…real time. And I pause on real time, because I think we as an industry talk about real time as if it were now and it’s way too big a lag,” says Seiler, who is President of Brand Solutions. “So I suspect that the accountability will get to individual behaviors and as close to the time that you wanted to solicit that behavior as possible.”

He believes that artificial intelligence has “been around kind of forever, but calling it AI has changed our perception of it. I think there’s an insecurity around machine learning that makes us think that people are going to become obsolete, and that obviously isn’t the case.”

To Seiler, machines should do things “that people are wasting an awful lot of time doing themselves” so that they are freed up to be much more creative. “It should be much more around the story rather than the technology that’s required in order to develop and or distribute that story,” Seiler says. “AI I think is going to be really helpful and really disruptive at the same time, because there are going to be jobs that are displaced by it, as there should be.”

Virtual reality is being used “all over the place,” but he thinks the application to media hasn’t really been determined. While it’s probably appropriate for gaming, beyond that “I don’t imagine anytime soon until the technology advances and you don’t have to have those really clumsy things on your face.”

Artificial reality “is going to get a lot farther a lot faster.”

Seiler considers blockchain technology as a potential remedy for providing needed trust, accountability, speed and measurement, but he’s not about to jump aboard the blockchain train.

“I don’t think we have a clue how to go from where we are today and how we are used to paying for things and tracking them, etcetera, to where we will go.”

At Cannes, it’s all about the creative for Seiler. “I love judging here because it means you’re actually guaranteed seeing the work. I wish always that we were spending more time around the work, which is what the point of this whole thing is.”

Nonetheless, he cites a palpable sense of insecurity given the struggles of some advertising-based holding companies and competition from, among others, management consulting groups.

“The collective understanding that things are changing but not a clear understanding to what. So there’s that uncomfortable thing of, ‘like I know it isn’t this but I don’t know what it’s going to be.’ I say opportunity.”

This video is part of a series titled The Consumer First, a New Era in Digital Media presented by MediaMath. For more from the series, please visit this page.

“What blockchain does is create a single ledger that everyone trusts,” says Vedant Sampath, CTO of software and computing services provider Mediaocean, which is teaming with IBM’s iX agency on a blockchain consortium solution. Uniting some of the world’s largest advertisers, agencies and publishers—including Kellogg, Kimberly-Clark, Pfizer, Unilever and IBM Watson Advertising—the solution aims to provide transparency and build trust and accountability in the advertising ecosystem.

In this interview with Beet.TV at the Cannes Lions International Festival of Creativity, Sampath provides a before and after look at media transactions and explains what blockchain brings to the table.

“So if you look at the media supply chain, the value chain consists of the advertiser, the agency, the suppliers and all of the adtech players. All of these are multiparty transactions, meaning from a marketer standpoint that money is being spent by multiple players involved in the process,” Sampath says.

Without access to a blockchain, “everyone puts that information into their own ledgers. And when it comes time to reconcile, they take the invoice and compare it against their ledger. And this happens multiple times across all of the parties.”

This is where the single ledger comes in. “So where previously you trusted your ledger, now you trust the common ledger,” says Sampath. “So everyone has all of their transactions in one place. Reconciliation in that context becomes a lot easier.”

When an agency sends a media plan to its client, the marketer approves it and generates a purchase order, which has terms and conditions. “That gets written to the blockchain.” Campaigns are then generated, with spending across a number of different media suppliers.

“There are insertion orders, or if it’s a programmatic buy there may be a DSP where you’re sending the buy. All of those have terms and conditions. We capture that in the blockchain. And then when the invoice comes in and the payments happen, all of those are captured.”

Via the blockchain’s application programming interfaces, any players in the ecosystem can integrated into the blockchain and updated with the transactions that sit in their systems. The users have consoles that they can look at to roll up the data.

“Today, when there’s an order we update our internal ledger. But in the new world we’ll be updating the blockchain ledger, the distributed ledger. It will be transparent to the end user,” says Sampath.

This video is part of a series produced at Cannes Lions 2018 on the emergence of blockchain in the media ecosystem. This series is presented by Mediaocean. For more videos from the series, visit this page.

“We understand that brands are going to demand their own special measurement. It’s not our place to determine exactly who they should use,” says Denise Colella, SVP, Advanced Advertising Products & Strategy, NBCU. “So we’re allowing them to use a suite of attribution partners that we partner with to make sure they can measure anything they do.”

In this interview with Beet.TV at the Cannes Lions International Festival of Creativity, Colella expresses enthusiasm for NBCU participating in the OpenAP audience targeting consortium and the need for added speed in moving the TV industry forward.

When NBCU looks at cross-platform viewing, it tries to deliver a “premium experience” regardless of where its content is being consumed by using a device graph that reflects that consumption, according to Colella.

“We’re able to use OpenAP to make sure that our planners can plan and the brands can plan across publishers” and then use a suite of offerings that are “great towards being able to measure these campaigns across platforms.”

Having recently joined OpenAP, “We’re very excited to work with Fox, Viacom, Turner to make sure that the industry is really moving ahead at the breakneck speed that we need to be going at. They’re our first partners that we’re so excited about.”

For attribution, NBCU is working with iSpot and is testing with Data + Math, among others. With iSpot, the company works with advertisers to define the outcome they want to measure and then tracks the success of the campaign, as The Wall Street Journal reports.

“Not every partner is going to be the best at every vertical, so we make sure we have a good host of those,” says Colella. “So we have an entire group that’s dedicated to just managing our data and partnerships.

“The overwhelming effect is that everybody wants the same thing. They all want to be across platforms, they all want to be able to plan that way and they all want to be able to measure that way.”

This video is from a series of videos and sessions produced in partnership with FreeWheel at Cannes 2018 as part of the FreeWheel Forum on the Future of Television. You can find more videos from this series here.

“If you look at the digital media supply chain, as an enterprise, the jury is still out because we still have a LUMAscape which is as complex as Einstein’s theory of relativity,” says ANA CEO Bob Liodice during a break at the Cannes Lions International Festival of Creativity.

“And because of that, marketers don’t understand how to best leverage that supply chain to their advantage.”

As proof of the extent of dysfunction, he says that only 25 to 40 cents on every digital dollar reaches the consumer. “That’s awful. We need to find a way to improve that productivity. We haven’t gotten there yet.”

The ANA has been working with Digital Content Next to support TrustX, a programmatic advertising marketplace designed to help maximize marketers’ digital advertising expenditures. “The early read is that we can get twenty percent improvement, but there’s so much more work to be done,” says Liodice.

This year, the Cannes Festival is an opportunity for the ANA to “globalize” its CMO Masters Circle initiative. It’s composed of 1,000 executives from leading brands across ANA member companies who are trying to help solve what Liodice calls “the universal problem in our industry, which is growth.”

According to Liodice, 50% of Fortune 500 companies have declining after-tax profits while 40% have declining revenues. Masters Circle has crafted a 12-point strategic and is “building machine around that effort.”

He says Cannes recognized that the program is working and “they thought that this was a good opportunity to spread that message on a global basis.” Some 20 to 25 of the leading CMO’s around the world will “discuss the issue, come together and decide what it is that we want to do to attack the growth agenda worldwide.”

Among the ANA’s other ongoing initiatives is providing its members with more of a grounding in various futuristic technologies that have marketing implications, like artificial intelligence, blockchain and virtual reality. To this end, the ANA recently acquired the Data & Marketing Association, which was founded in 2017 as the Direct Marketing Association, as Advertising Age reports.

This video is part of a series produced by Beet.TV at Cannes Lions 2018 about advertising accountability presented by Mediaocean.    Please find more videos from this series here.

“If we have a better festival, it will prosper. In the same way our industry, and I include WPP, we need to make changes as well,” says Read, who is COO of WPP and Global CEO of its Wunderman digital agency. “We need to become simpler to navigate.”

When Read joined Wunderman several years ago, he recalls some people disparaging the venerable direct marketing agency for being in the direct-response space. “But actually, today all marketing is direct marketing, so we can do everything.”

Some industry change is imposed by outsiders, for example regulators. Read notes that the recent implementation of the European Union’s GDPR privacy strictures “has had a big impact in Europe.”

He contrasts the situation with the United States, where there is a different approach to privacy. “The EU approaches privacy as a sort of human right, something that consumers come to expect,” Read says. “I think the U.S. view is companies can do what they want to do so long as they’re clear about they want to do. As long as they do what they say, they’re fine.

“In the main, GDPR has been a challenge for companies, but I think it’s been a good thing as well.”

Asked about the ongoing efforts to bring more transparency to the digital media supply chain, Read says WPP’s GroupM media unit “has talked a lot to our clients about what they need to do to make sure that their marketing messages appear next to content that they’d like it to appear next to.”

Other improvements to the supply chain will require more cooperation for mutual benefit. “No one part of the industry can solve the problems on its own. It requires cooperation between various players.”

In a nod to the dominance of Facebook and Google, Read says there is a need for a market where people can afford to create quality content, particularly news.

“But then I think it’s incumbent on news organizations to evolve and innovate the way they create news, the way they work,” he says. “Each player in that ecosystem, agency, client, media owner, technology company, has a role to play and actually it’s the sort of cooperation around them and the coalescence of interests that will help us.”

This video is part of a series produced by Beet.TV at Cannes Lions 2018 about advertising accountability presented by Mediaocean.    Please find more videos from this series here.