This is because the musically inclined Goldin considers conductors to be “not people who just orchestrate and coordinate,” she explains in this interview with Beet.TV at the recent Cannes Lions International Festival of Creativity.

“Their job is to envision a piece of music and bring it to life in a way that it’s never been heard before,” Goldin says. “They are standing in front of a very big orchestra. But you also have to understand how to bring people together, so it’s a huge leadership job. At the same time, you also are delivering to the audience behind, which is in our situation the consumer.”

It’s Goldin’s deep belief that marketing “sits at the crossroads of arts and science and the heart of the right and left brain.” She considers marketing to be “even more essential now than ever before to actually enable the business to achieve growth through real understanding of consumers, audiences and creating very strong value.”

When she talks about her “really big team,” Goldin notes that many don’t have marketing in their title. “But in some ways, I also feel that they all contribute to that same sort of cause, let’s say.”

Asked by interviewer Joanna O’Connell, who is VP and Principal Analyst at Forrester Research, how she goes about recruitment, Goldin says it’s first paramount to define not just the role of marketing overall but within a specific organization.

“In my organization we have product design, we have a creative agency, we have brand insights, we have content developers, we have long-form content developers, we have digital platform owners.”

When you add all of those roles together, their commonality is safeguard brands and franchises, according to Goldin.

“I think it’s absolutely essential to talk to them about the role that they play because in my view they are uber conductors of the symphony that is around each one of the big themes or products or innovations that we move forward with.”

Great marketers need to understand the entire value chain. “They understand how everything happens to actually create a product or create a campaign all the way through to how it flows into the stores, into consumers hands and ultimately reaches a child and hopefully delights and surprises them.”

You are watching Beet.TV coverage of the CMO Growth Council Summit in Cannes. This series is presented by Teads. For more videos from our series, visit this page. Please find all our coverage from Cannes 2019 right here.

“Brand purpose is so incredibly powerful and has the potential to do so much,” Hanson says in this interview with Beet.TV at the recent Cannes Lions International Festival of Creativity. “You look at the state of the world, the planet is in, there has never been a greater need for a complete overhaul of institutions, around politics and social and educational.”

Alluding to the “tons of panels” at Cannes centered on cause or purpose, Hanson draws a distinction between the two.

“Cause is often a reaction to something that is kind of negative. The question around purpose is how do you shift companies into a space where they are putting it right at their DNA. How do you act as a force for good and you don’t simply kind of badge it?”

While every brief that OMD sees is ultimately seeking to deliver better business outcomes, an understanding of what consumers care about shows that “the need for purpose is absolutely rising,” Hanson says.

She cites research showing that 33% of consumers will shift and buy from brands “that are doing better” while 50% will move to brands of parity “as long as they are reflecting of your values. You shift from one to another.”

To participate in the purpose space if it’s meaningful to a brand “There has to be a genuine commitment to it and all that it takes,” Hanson says.

It’s not uncommon for a client to have multiple projects or commitments already in play. “But the question is which ones are relevant to amplify. Which ones do you potentially communicate more and why. We start to look at where can you affect culture most effectively and also business outcomes and where do you have the greatest space to show your impact.”

One of the big hurdles is expectations, because aligning with a purpose for a year or less doesn’t cut it, according to Hanson.

“Some of these shifts, they take two to three years to have an effect because you are requiring a different set of behaviors to be at stake. You take the best of brand building, but you’re taking that to have a different impact.”

You are watching Beet.TV coverage of Cannes Lions 2019. For all of our Cannes coverage, please visit this page. Thank you to our sponsors of our festival coverage which are Amobee, Innovid, Nielsen, RTL AdConnect and Teads. Special thanks to Hearts & Science for hosting Beet.TV for the Festival.

The Association of National Advertisers and the Cannes Lions Festival started the CMO Growth Council to reinforce and elevate the role of marketing in the C-Suite and corporate boardroom. In this interview with Beet.TV, Hatch gives her vision of what’s been accomplished so far and what lies ahead.

“I think what we’re recognizing is that we’ve broken marketing apart into different components that all need their focus and we need to get down to business and actually make change and action happen,” Hatch says. “A lot of that is foundational, but what does it really ladder up to?”

The answer is a common recognition within the Council that while marketing must drive businesses, it’s also paramount for brands to drive good.

“And so there’s a higher purpose in all of the work that we’re doing together, which is really unleashing the true power of brands today in the world and ultimately helping to impact all of humanity in a way that is incredibly important.”

Whether it’s social responsibility or environmental sustainability, “the roles that these companies that we’re in are playing in the world today has changed and we have to respond to that and use the power of brand to make that a reality,” Hatch adds.

Asked by interviewer Joanna O’Connell, VP and Principal Analyst at Forrester Research, what lies ahead for the Council, Hatch says the power of brands lies in their ability to influence people.

“We’re seeing that our purpose conversations are getting bigger than any individual brand,” Hatch explains. “We’re starting to see partnership happen. We’re starting to see brands say ‘what can we do about climate change? What can we do about issues that affect all of us in a way that’s larger than just your brand purpose but it’s about human purpose?’”

She believes that the communications industry, working together, can wield more influence than any single company or government.

“We have a lot of influence and I think we’re all really recognizing by the simple act of organizing, we’ve gotten together. That’s what the Council is. We brought everybody together and magic happens. It will continue to happen and the conversation is expanding.”

How does Deloitte itself benefit from its participation in the Council?

“For our company, what we’re able to do is actually benefit not only from the learnings of other CMO’s, of other brands, we’re all working towards common vision in many ways.”

You are watching Beet.TV coverage of the CMO Growth Council Summit in Cannes. This series is presented by Teads. For more videos from our series, visit this page. Please find all our coverage from Cannes 2019 right here.

The CMO Growth Council has been asking the same questions about marketing since its inception at last year’s Cannes event. As a participant in that collaborative initiative, Goldin is looking forward to helping produce “tangible actions” that will benefit individual companies and marketers at large.

“I feel that marketing got sidelined over the last couple of decades and also became somewhat misunderstood and maybe narrowed in terms of what it is all about,” Goldin says.

Among the outcomes from the work of the CMO Growth Council that Goldin expects to see is to create “much more excitement around this industry,” which in turn will help in recruiting talent. “I think it’s going to open up a lot of opportunities for people who are already in marketing but also for the generations of the future.”

The Council “sharpens up” all participants within their respective organizations and collectively, according to Goldin. “I think overall it’s going to create the kind of movement that we need that is going to be much more cohesive and consistent versus everybody kind of doing their own thing.”

Asked by interviewer Joanna O’Connell, who is VP and Principal Analyst at Forrester Research, about specific areas of focus, Goldin cites the role of marketing and how it’s positioned as a profession. This includes education, training and development capabilities.

“What I think our generation of marketers wasn’t super prepared for is the rapid speed of innovation and change coming so fast and being able to learn on the job,” she says. “I think that’s a requirement. We need evolution.”

Embracing change is not only about learning but about how to be adaptive, given the multitude of changes still to come.

“We need to be adaptive to the environment in which we live and now we live in an environment where change is very rapid. Very soon they’ll be talking about AI, they’ll be talking about voice, and very soon they’ll also talking about regulation. Just like we’re seeing right now the importance of privacy and data protection.

“That will all happen and we need to be prepared for that and ultimately we should be driving the right changes. We should also be the ones to protect consumers, not just protect brands.”

How has LEGO benefited from the CMO Growth Council? “For me it’s super interesting to hear what other people are doing,” Goldin says. “It’s much easier to get closer together when you’re aligned against a goal and an issue that is really of value and interest to you and you’re passionate about because it matters to you, it matters to your organization.”

You are watching Beet.TV coverage of the CMO Growth Council Summit in Cannes. This series is presented by Teads. For more videos from our series, visit this page. Please find all our coverage from Cannes 2019 right here.

“We have to go to market with a very different approach. This is to moment for us to really transform,” VP of Marketing Allyson Witherspoon says in this interview with Beet.TV at the recent Cannes Lions International Festival of Creativity.

After long relying on buying TV audiences by demographic, Nissan has been able to shift to its own audience segments “but it’s a manual process. With connected TV, all of that’s kind of integrated. It’s a seamless approach to it.

“For us it’s can we make sure that through video content and through connected TV how can we reach the right type of consumer in the right type of vehicle segments that we have for Nissan at the right time in the vehicle shopping process,” Witherspoon says.”

Asked by interviewer Jon Watts, who is managing partner of research and strategy consultancy MTM, how Nissan has been using either specialist agencies and/or internal data scientists, Witherspoon says “kind of all of the above. From an agency standpoint, we’ve eliminated the silos that have been traditional over the last several years. Basically, we have all of the subject matter experts all on one team.”

Everyone on the team gets the same brief to create a go-to-market plan for both creative and media. “So we’ve completely collapsed our agency silos into one team.”

On the publisher side, Witherspoon notes that Nissan recently attended the annual UpFronts and observes that “I think the UpFronts even are taking a much different approach that is going to be much more about connected TV.”

Nissan “thinks about TV differently now” and also how it approaches content creation.

“You can’t get away with one size fits all when it comes to a TV ad. Now we have to have custom content based on the audiences that we’re trying to reach.”

Her expectation for media partners is “understanding the business challenges that we have, having open conversations about how we need to be reaching the right type of consumers. And then as much as possible, how can we show how our marketing investment is connecting to transactions.”

You are watching Beet.TV coverage of the CMO Growth Council Summit in Cannes. This series is presented by Teads. For more videos from our series, visit this page. Please find all our coverage from Cannes 2019 right here.

This theoretical game isn’t going to be won by the emergence of one overriding supply side platform, Pangis predicted in this segment, which was recorded at the Beet.TV advanced TV summit, presented by Amobee and hosted by Hearts & Science at the Cannes Lions International Festival of Creativity.

Moderator Tracey Sheppach asked what it is that buyers can ultimately expect to see. “Once we move through this innovation, do I have two logins to two different systems Xandr and NCC? Is that what it looks like?” said Scheppach, the CEO & Founder of Matter More Media.

“I think the future of collaboration in television is a much different discussion than what a lot of people are having, which is like ‘come on my platform and then you can use my demand-side’…that is not the way we’re going to get far fast,” responded Pangis. “It’s how do we connect with one another and sort of bring each of our super powers together, and the demand side is always going to want to do something a little different.”

Allison Metcalfe, GM of LiveRamp TV, explained that about two years ago, LiveRamp began to focus on automation to better serve the sell-side. Last fall, the company sold Axciom, the data provider that had itself acquired LiveRamp in 2014. “Life has changed pretty dramatically since then,” said Metcalfe.

Along the way, LiveRamp figured out that it needed to pay more attention to the buy-side. “The reality is that LiveRamp sits on the CRM’s of close to four hundred of the largest brands in the US and internationally. Those brands rely on us for people-based marketing strategies. It’s very natural that they would look to us to help them understand what’s possible in TV,” said Metcalfe.

Easier said than done, she went on to explain. Her team of four full-time people whose daily mission is to evangelize advanced TV to brands typically come away from meetings with “a list of twelve questions” regarding how to reach those brands’ audiences across platforms “and it takes us months to answer those questions.”

Even when such discussions lead to a purchase order, the entire process can take six months. “If we could get that to maybe two or three months, that would be a win for both Nicolle and I.”

One advantage of distancing itself from Axciom is that it dispels doubts about perceptions of LiveRamp’s neutrality, according to Metcalfe. “We are a technology platform with a data marketplace.”

Under the leadership of Grant Ries, LiveRamp is helping companies that have data assets but never considered themselves to be data suppliers. Metcalfe cited the example of travel data co-op Adara, which came to LiveRamp because it wanted to get into TV.

“So now we’re able to offer some really unique targeting capabilities to the travel industry, which historically wasn’t a really big buyer of advanced TV strategies,” Metcalf said. “We’re seeing a lot of trends like that.”

This video is from Cannes Lions if from our series, Capitalize on Convergence, presented by Amobee. For more videos from the series, visit this page. To find all Beet.TV coverage from Cannes, please visit this page.

“When you see brands lead their creative with a purpose, I think people realize that brands stand for something greater than just the bottom line. That’s getting us noticed in a slightly different way,” Hammer adds in this interview with Beet.TV at the recent Cannes Lions International Festival of Creativity.

Behind the scenes, IBM is sensitive to the reality that because people build algorithms, the end product could very well contain bias. “So what we’re doing is building models to evaluate the models that AI has, to make sure that there’s no bias within them and constantly check the technology we use in order to make decisions.”

Hammer believes that maintaining the public’s trust is one reason why the company has survived for more than a century. “Think of how we change what we sell every ten years. So we don’t sell products, we’re selling trust and a relationship. We help clients get from here to there.”

Blockchain technology is another tool in the pursuit of transparency, particularly among business partners, according to Hammer. One example is the amount of money on a digital media buy that used to end up in the pockets of technology middlemen but now more is ending up with publishers.

“A blockchain built with a network of partners can help deliver that,” Hammer says. It goes beyond the technology itself to “also having the players who are ethical and have the right DNA in their core to participate in a blockchain. You have to bring the right players to the purview, you provide that transparency and openness, and people tend to act in a way that’s better for the collective.”

A recent initiative by IBM called B Equal, which promotes gender equality in business leadership, isn’t just a campaign because “it has to be about the way we work and the things we do, and I believe that’s what you’re seeing in the brands here as part of the ANA and CMO Growth Council.”

Formed a year ago at Cannes, the Council represents “a diverse group of people” that is producing initiatives that are “not just words but they actually have action behind them, and I believe that’s the next step in this initiative. We’re aligning on some pillars, we’re aligning on our missions and our outcomes, and now we’re putting the actions in place and saying ‘let’s go make this happen.’”

You are watching Beet.TV coverage of the CMO Growth Council Summit in Cannes. This series is presented by Teads. For more videos from our series, visit this page. Please find all our coverage from Cannes 2019 right here.

In this interview with Beet.TV at the recent Cannes Lions International Festival of Creativity, D’Angelo says he’s had “quite a number of interesting conversations about this and in preceding months where people will want to segment with a very hard line between performance marketing and brand marketing.

“And I think there’s a bit of an analogy also between digital marketing and analog marketing,” D’Angelo adds. “Those two things don’t exist in two kind of separate universes.”

In “very traditional advertising and marketing,” it was always about performance. “We were always trying to elicit a response from consumers.”

What’s different from half a century ago is that “the response was somewhat delayed and you didn’t have the immediate return path and ability for interactivity with consumers.”

D’Angelo believes that if marketers can maintain “that kind of holistic vision that there are points on the scale, I think that’s incredibly healthy.”

When it comes to campaign KPI’s, he notes that the vast proportion of P&G’s consumer packaged-goods sales still occur in brick-and-mortar stores.

“I think the key for us is to find ever concrete KPI’s that we can begin to measure consumer response. Whether that’s quality visits to our websites, appointments with beauty advisors in department stores or clicking to download a coupon. If we can continue to move along that spectrum I think we’re going to be in a good place.”

In a similar vein, D’Angelo talks about the “big bifurcation” between Game Of Thrones-like, extended long-form content “that plays out over a number of years” and very short video content on the other end of the scale.

“I think as advertisers, we should be inspired by that because the traditional workhorse of the thirty-second or the fifteen-second commercial I think is coming under scrutiny. I think we have to respond to that as advertisers and take note of the fact that consumers will want to be much more flexible in terms of how they’re consuming their video content and that we need to respond to that in kind.”

You can find all of Beet.TV’s coverage of Cannes on this page.

As a member of the “Group of 25” under the aegis of the CMO Growth Council, Lau is hoping to create “congregations of marketing organizations” to restablish the importance of marketing, he explains in this interview with Beet.TV at the recent Cannes Lions International Festival of Creativity.

“The conundrums of the marketing fraternities that we’re facing today largely has to do with some of us have kind of deviated from the very first mandate or mission of being a great marketer,” says Lau. “Marketing in the past used to be a very, very highly regarded profession that brings great values to society.”

Lau, who is Tencent’s SEVP, Chairman of Group Marketing & Global Branding, gave a presentation at Cannes to introduce “Tech for Good” as an integral part of Tencent’s new vision and mission. His speech outlined how Tencent ignites the goodness in individuals to build a “universally accessible” digital community that addresses the challenges to individual empowerment, community, society and the planet.

One example is the Tencent Foundation, which engages individuals in charitable causes such as monthly donations, bundled charitable programs and daily step challenges and has become the world’s largest online platform for public charitable donations.

One of the goals of the CMO Growth Council at Cannes was to figure out how to turn the passion displayed by its participants in meetings over the past year into concrete action. “It has to move beyond passionate individuals…into an organizational-led movement,” says Lau. “The real thing is not about hastily coming out with solutions, it’s really about being honest to ourselves.”

Asked by interviewer Joanna O’Connell, who is VP and Principal Analyst at Forrester Research, whether marketers face a challenge of process or people, Lau points to the latter.

“Everything leads back to people, because people create process,” he says. In seeking to create a “global center of excellence for innovations and creativity,” the Council must “let information flow, let people really cultivate a life-long learning experience” as opposed to seeking quick fixes.

So how has a company as powerful as Tencent benefitted from its participation in the CMO Growth Council? “Immensely,” Lau says, adding that the company is “very privileged and fortunate to be among the McDonald’s the Googles the IBM’s of the world. But then we must remember that we’re only 20 years old.

“There is also a strong ambition, there’s a strong dream, to share with the world what we thought have made us from good to great, from China, from Tencent, from the so-called first mobile-first land of the world.”

You are watching Beet.TV coverage of the CMO Growth Council Summit in Cannes. This series is presented by Teads. For more videos from our series, visit this page. Please find all our coverage from Cannes 2019 right here.

What also came to the fore in this segment recorded at the Beet.TV advanced TV summit and presented by Amobee and hosted by Hearts & Science was differences of opinion about the role of technology providers and the status of the OpenAP audience-targeting consortium.

Asked by panel moderator Jon Watts, who is managing partner of research and strategy consultancy MTM, about Fox’s approach to advanced advertising, VP of Audience & Automated Sales Dan Callahan says the company is “piecing the bits together. There’s a million different places where our content is distributed and each has different rules and standards and tech specs, and that’s what makes it hard.”

He described a process wherein it’s “very much what can we deliver across these five platforms and what are their standards and methodologies. And then you have to have the conversation with the client and they’re like ‘we agree with these five but not these five’ and it’s a mess.”

So while everyone agrees on the need for convergence, “right now unfortunately it’s packaging smaller bits of our content and here’s what we can sell this way, here’s what we can sell this way, are you willing to accept it?”

Things are much different at Univision, as President, of Ad Sales & Marketing Steve Mandala explained.

“We have tried a lot of things, sought quick failure and fast learning on it too,” Mandala said. “One of the reasons that I’m glad to be able to be here because I don’t think we’ve figured out our solution yet. I think we’ve learned a lot of things along the way, typically much more of what we don’t want to do than what we do want to do. And are still searching for it.”

What Univision lacks in complexity can largely be attributed to the fact that 92% of its primetime programming is still watched live. “So we don’t have the issue of the time-shifted, alternative viewing sources that is so prevalent with all of our competitors, colleagues, peers. The issues regarding standards and unification of those standards are going to happen. It’s going to get fixed. It’s a rule of nature basically. It won’t happen as quickly as any of us want it to, but it’s going to happen because it’s the only way that the industry can come together.”

Mandala was not big on praise for tech providers, most of which he described as promising “silver bullets” that fail to solve what they purport to solve. “We’ve been completely dissatisfied in what we have found so far, other than Videology to be quite honest, is that there’s a flavor of the week all the time. It’s what is the next silver bullet that’s going to fix things. The truth is that very few of these things have yet panned out. The thing for us is to try to find those places where we believe that they’re really delivering simplified value.”

When the conversation shifted to OpenAP, Mandala noted that Univision was one of the first non-original partners to join the initiative “and I completely agree and endorse what OpenAP started with and still do.” However, Univision has had “an incredibly disappointing first year with OpenAP” and Mandala voiced doubts about so-called industry standards.

“There has to be a common vernacular. And the question is, is it going to be the seller or the buyer who develops that lexicon and that vernacular? What I worry about is that as we do this as sellers, we’re asking buyers to change their way of doing business to accommodate what we decide is the way that lexicon process should all be structured.

“Yet on the other side,” Mandala added, “I don’t think that the buyers can hardly agree what day of the week it is let alone a standard like that. Agency A will compete with Agency B in reviews based upon their view of how they deal with advanced advertising. So I don’t think it’s actually to the advantage of the agencies to have a standard in many ways so they can differentiate themselves.”

Callahan was more sanguine about OpenAP. “I feel like OpenAP is really putting their best foot forward to solve what they feel the programmers’ situation is, and then it really is the agencies and the brands and the others that can come to the table if they want to band together.”

This video is from Cannes Lions if from our series, Capitalize on Convergence, presented by Amobee. For more videos from the series, visit this page. To find all Beet.TV coverage from Cannes, please visit this page.

There was no doubt that consumers had completely changed their viewing television venues, but that was just one component of the larger picture, Smolin related in this segment, which was recorded at the Beet.TV advanced TV summit, presented by Amobee and hosted by Hearts & Science.

“You have to have the broadcasters and programmers that are in a position where they really want to lean in for what is bringing data into advanced television,” Smolin said in response to a question from Jon Watts, who is managing partner of research and strategy consultancy MTM.

“But you also have to have on the buy side, you have to have the agency ecosystem be in a position where it’s really ready to start using that and converging maybe the TV investment team versus what had been the digital trading desk.”

Amobee made its wager after assessing a variety of technology providers and determining that Videology was unique compared to companies that had fashioned themselves to fit into the programmatic space “for a world that came out of remnant display advertising and frames every problem like that,” Smolin explained.

Given the difference between display and long-form, premium video, “Videology to their credit had designed from the ground up to solve the problems of how TV works. That was uniquely powerful, and we thought it was the right technology at the right time and it’s had a huge impact on our business.”

Now, with Videology’s assets and Amobee’s partnership with Nielsen “we are able to bring converged measurement to linear plus digital activation. When we use the term advanced TV, it’s very much about being able to take that digital-first audience, first-party data, and to use that within what is video, what is OTT, what is connected TV but also to linear.”

Noting that eMarketer predicts linear will be 50% or more of all TV budgets by 2022, Smolin said it’s important for many brands to think holistically and for Amobee to provide “true, converged media solutions.” Another thing Videology had in its favor was its sell-side presence, “and that’s also critical because if they’re not positioned with the right tools to be able to sell the way that the advertisers want to buy, then it doesn’t work on either side.”

He echoed the concerns of many in the industry that agency structure remains an impediment, as some still have siloed TV investment and digital trading teams. “They don’t have to be the same people, but getting them to look at the same measurement data and turning that same measurement data into integrated planning” needs to happen.

Asked how TV can win back ad dollars that have flowed to Facebook and Google, Smolin cites data, targetability, measurement and scale. Where TV has an edge is that premium, long-form content “is not the strength for Facebook and YouTube. If the broadcasters, the programmers, are now bringing the data that gives you the audience and the measurement at the scale they already have, they’re now in a position to compete very effectively with much higher value ad units than what Google and Facebook have been doing.”

This video is from Cannes Lions if from our series, Capitalize on Convergence, presented by Amobee. For more videos from the series, visit this page. To find all Beet.TV coverage from Cannes, please visit this page.

“All of the hospitality industry today, six years ago everything was digital,” the SVP of Global Marketing Strategy says in this interview with Beet.TV at the recent Cannes Lions International Festival of Creativity.

“And now we are let’s say back in the roots simply because you can see that Booking and Expedia and all key players today” invest in TV advertising.

Having done as much as it could to increase sales and ROI in digital media for its brands, which include Fairmont, Raffles, SLS and Sofitel in 100 countries, Accor decided it needed to travel in a different direction. “So we decided to come back a year ago on TV but TV in a different way. It’s how do you link your brand awareness with what is going on in the physical world in the hotels,” Dubois says.

TV provides a new way to reach the right audience. “In the hospitality business, we need to touch some niche audience and as part of a global scale it’s always a big challenge. We are able to target the right people at the right time to talk about our universe. It’s not a day-to-day conversation for consumers.”

Accor has the tools to link its TV advertising to “what is going on in the digital space. These tools today are great. When you do TV, it’s not only to spend a lot of money and have status. We’re very confident and very pleased to be back on TV for our hotel brands. We see great results,” Dubois says.

This segment is part of a series titled The New Global Marketplace for Premium Video, produced at Cannes Lions and sponsored by RTL AdConnect. For more videos from the series, please visit this page. For all of Beet.TV’s coverage of Cannes Lions 2019, please visit this page.

Visit the Shell website and you won’t see promotions for the company’s liquid products. Instead, the issue of climate change takes center stage. And so it was with one of Shell’s latest YouTube initiatives, called The Great Travel Hack, hosted by actress and sitcom star Kaley Cuoco.

“Over the last two years we have reframed our presence on YouTube,” Silva says in this interview with Beet.TV at the recent Cannes Lions International Festival of Creativity. “And I would say today we are much more professional, not only on the type of content that we put there but also the type of content that we don’t put there, to preserve what our subscribers want,”

Shell leverages technology for audience targeting and retargeting, “playlists, call to actions, all those types of best practices that are available today for anyone. You need to be good at all those things, otherwise you are missing a piece of the puzzle to be performing at your best,” says Silva.

The Great Travel Hack pitted two couples with “their own social media presence” against one another in a race from Los Angeles to New York. “We selected them by their audiences, their profile, their sympathy, their engagement, their awareness in their own countries and the authenticity that they have with their own audiences in the countries that they work.”

The goal was to make the 3,000-mile jaunt while emitting the lowest possible level of CO2. Vehicles used by the social media influencers in Team Alpha and Team Omega included a sailboat and a three-person sled powered by 12 dogs.

“And what we saw throughout this journey from Los Angeles to New York is that the more stimulus we gave them, the more interested they were in this subject and the more fluent they became to talk about this subject,” Silva says of the influencers. “Which was exactly what we wanted to achieve because it’s very organic, very natural, very native. We didn’t script it at all. This came across very natural.”

The company has several objectives for outcomes and KPI’s. “The success for us is really the outcomes in terms of the perceptions of the brands,” Silva says. “To have millions and millions of views on its own is not enough to be successful.”

This segment is part of a series titled The New Global Marketplace for Premium Video, produced at Cannes Lions and sponsored by RTL AdConnect. For more videos from the series, please visit this page. For all of Beet.TV’s coverage of Cannes Lions 2019, please visit this page.

In this interview with Beet.TV at the recent Cannes Lions International Festival of Creativity, Donohue explains how data “opens up everything in the creative process, from start to finish. It’s all about personalized experiences for the consumer.”

She sees an industry facing “a ton of transformation, and to a certain degree there’s pressure on that transformation.”

But on the other side “there’s just so much enthusiasm for that change. What’s possible is amazing. And what we can do to build consumer experiences is very powerful and so you see a lot of optimism from people.”

Asked by interviewer Jon Watts, who is managing partner of research and strategy consultancy MTM, about the challenges agencies face in mastering data and technology, she admits those haven’t traditionally been core competencies. “Agencies are historically a service-based business. However, there are lots of industries that have had to change and pivot from what their core business is.”

Spine was created by Publicis in the fall of 2017 as a team of 3,500 engineers, data scientists, analysts and tech leaders to serve as a platform that helps brands to target specific individuals, as Advertising Age reports.

“At the core of it what we’re really trying to do is foster both the marketing transformation and the business transformation side of it. In the center of that is the consumer,” Donohue says.

“Clients are very rich with data. It’s usually not that they don’t have data, it’s that their data is housed in silos and it’s not connected. So we help them very much with that.”

If agencies understand their clients’ growth objectives they can determine which consumers they need to talk to. “And that helps us ideate. Even at the ideation stage data can be very informative. Then as you go into personalization, data can help us create versions, data can help us create sequential messaging and better storytelling and “even start to get the toe in the water of dynamic creative,” Donohue says.

Will there be thousands of creative within the same campaign? “There can be. If we better understand where a specific consumer is in the journey, then we know what message they need to hear at that point in the journey and to move them along to the next phase.”

Donohue isn’t suggesting that such personalization is just around the corner.

“We have all talked about it at length and we all know that it’s going to make sense and it’s going to help both consumers and brands. But there is a lot of work to implementing it, especially when you think about implementing it for global brands.

“Implementing a strategy like that in Russia is very different than the US and it’s very different than Brazil. So I think it’s really going to be focused on how do we take the promise of personalized experiences and be able to implement it sustainably,” Donohue says.

You can find all of Beet.TV’s coverage of Cannes on this page.

“Finding those new things in marketing is one of the most incredible hotbeds of innovation,” Hatch says in this interview with Beet.TV at the Cannes Lions International Festival of Creativity.

When it comes to hiring, Hatch feels that it’s important to look beyond just marketing skills. “It’s much more about mindset and attitude and openness and agility and ability to adapt and think creatively. Because marketing is changing constantly. I love to bring in all kinds of disciplines, unique perspectives as well together.”

Once hires are made, cross-training is a top priority because it helps to create empathy and an understanding of the roles of others.

“We work as a hive and we have to work very quickly, and unless you really understand where the other person is coming from you can’t be efficient,” Hatch says. “We do very light rotations, but in real life you’ve got to test out everybody else’s job. Test drive the skill and the role. And I’m finding that we’re able to develop more hybrid marketers that way.”

Ultimately, Deloitte will still have its share of specialists, “but it makes everybody better and it helps them to be more dimensionalized as marketers and I find it raises the tide of innovation overall.”

Asked by interviewer Joanna O’Connell, VP and Principal Analyst at Forrester Research, how to “instill a sense of understanding of, and empathy with, the inner mind of the CFO” and help others understand the importance of “the language of business,” Hatch says language is everything.

“In marketing we have a glossary problem. We’re literally speaking Russian to English speakers or Mandarin to French speakers. People do not understand what we’re talking about in the C-Suite or in the boardroom at all.”

Hatch pushes her teams to “translate metrics by using the actual native understanding that they do have, which is audience. How do you speak to your audience? Think of them as another audience that you’re trying to communicate with. You have to speak in their language and not yours.”

Marketing has gone from being a cost center to a growth driver and a predictable one., according to Hatch. Moreover, marketing is on the frontline of innovation because “it’s the novel use of products and services as observed by consumers or the businesses that consume whatever it is you’re doing that drive innovation far better than anything else we can build in the R&D department in isolation.”

You are watching Beet.TV coverage of the CMO Growth Council Summit in Cannes. This series is presented by Teads. For more videos from our series, visit this page. Please find all our coverage from Cannes 2019 right here.

How marketers engage with agencies:

“The needs of how clients engage with media agencies has started to really shift from the sense of how do we buy media more efficiently and how do we connect with the consumers but how do we act as their guide to finding the next opportunity for growth.”

From impressions to outcomes:

“Just measuring the fact that the impression was delivered is where we used to work in the space. Today it’s all focused on outcomes. So yes, there’s an expectation of how we report on delivery of media, but then how are we delivering the experience, how is that driving through to sales, how are all the channels working collectively together, what are the forms of content people are engaged with, how can we serve up more of that with sequential messaging so that we’re bringing them through the entire purchase journey and not just building brand bias but building it all the way into sales and loyalty.”

Why values matter to brands:

“Brands are shifting really from the sense of a campaign around change into how do we think about our values as an organization, how do we think about representing those values in the culture of our organization, do our partners reflect that and how collectively can we actually bring that into culture and better reflect the diverse culture in particular.”

On direct-to-consumer brands:

“They’re leaning into traditional media because they realize actually once they’ve gone through their own in-housing with search, with social, with display, with programmatic and have flooded enough of those channels and have enough performance driven from that they realize that next customer needs to come through other ways and other channels. And so they’re leaning in and helping to reinvent digital out of home, as they’re leaning into television and understanding how to bring data and actually make that more of a relevant experience as well. They’re leaning into print they’re leaning into all the channels that used to be seen as maybe not digital enough but through the last years as they have reinvented, as they have shown how they can drive outcomes, they’re driving some performance for DTC brands.”

This video is part of the Beet.TV series “Creativity & Data Meet at Cannes” presented by Nielsen.  For more segments from the series, please visit this page.  You can find all Beet.TV coverage of Cannes right here.

The Open Addressable Ready consortium announced in March is the result of Vizio having watched a number of companies try to bring more scale to addressable TV, McAfee says in this interview with Beet.TV at the Cannes Lions International Festival of Creativity.

“There are a lot of technical challenges with someone being in the middle of that conversation and then there are also a lot of business challenges. As long as there’s someone in the middle, there are levels of complication that just won’t make this work.”

OAR membership includes both inventory owners and platforms, ranging from CBS, Disney and NBCUniversal to AT&T’s Xandr and Comcast’s FreeWheel.

By seeking an open standard, Vizio decided against “trying to force the entire market to jump into a single stack and adopt a single solution,” McAfee says. Given that “NBC’s going to want to use FreeWheel, WarnerMedia’s going to want to use Xandr, Disney has their deal with Google,” allowing flexibility “is the only way you’re going to get to scale.”

Vizio sees itself as stewards and OAR members as owners. “They’re the ones making the decisions and we’re just building everything to their requirements.”

McAfee notes that most addressable TV execution to date has been through MVPD’s. “We think there’s a complementary ability to generate more scale on live linear,” McAfee says, hence the inclusion of companies like Comcast and Xandr. “We bring incremental reach to all of those players and scale is absolutely critical to addressable. There needs to be more and there also needs to be more premium linear inventory in that bucket for addressable.”

McAfee says he’s old enough “to have watched multiple consortiums in our business not go very well. I think as a group we’re beneficiaries of good timing in that I think the television stakeholders in our business understand that they need to work together to succeed.

“And so far our meetings have been very collaborative, everybody’s leaned in pretty hard on the subject matter and everybody’s cooperating. So I’m really encouraged by that.”

This video is from Cannes Lions if from our series, Capitalize on Convergence, presented by Amobee.  For more videos from the series, visit this page.  To find all Beet.TV coverage from Cannes, please visit this page.

“It’s not in-housing, it’s part of a much broader trend,” the former CEO of WPP says in this interview with Beet.TV at the Cannes Lions International Festival of Creativity.

Sorrell is now Executive Chairman of S4 Capital, which is described as building “a new era, digital platform for global, multi-national, regional, local and millennially-driven clients.” When he looks at the six biggest agency holding companies he sees an “adapt or die” scenario.

“They have no choice. The six of them are like sort of super tankers. They’re not agile enough, they’re not fast enough, they’re not flexible enough,” Sorrell says.

He traces client retrenchment to the days when Lehman Brothers was failing and the world financial system was on a precipice. One recent example Sorrell cites is the acquisition by McDonald’s of Dynamic Yield Ltd., which specializes in in personalization and decision logic technology, as a means of “trying to take back control.”

Other advertiser concerns include platforms controlling data, “proving to be a block to the direct consumer relationship.” Agencies, meanwhile, “are worried about incumbency instead of being totally transparent and willing to experiment.”

The net result among marketers is “the propensity to experiment has risen to a level that I’ve not seen in fifty or the so years that I’ve been in the industry,” says Sorrell. “In-housing is one of the means of experimenting. We’re not just seeing it on programmatic, we’re seeing it on content creation too.”

When agencies negotiate fee structures, “The level of directs for a new company with a clean sheet of paper is totally different than an established company, a legacy company. With indirects it’s light years difference. You don’t have indirects in a startup.

“They are strapped. It’s like a straight jacket. So when the procurement people from the agency go to negotiate with the procurement people at the client, they’re locked into a structure that the client’s not willing to accept. So that’s the fundamental problem. You have to have a totally new structure.”

He references his trip last year to the Burning Man festival, which is held in the desert in Nevada, as an allegory for what agencies are facing. “It’s creative reconstruction or destruction. Every year eighty thousand people build the burning man, they build the temple and they burn it down at the end of the week and they start again.”

You can find all of Beet.TV’s coverage of Cannes on this page

“We’ve been focusing on reinventing brand building for the past couple of years, a lot on media, a lot with agencies, a lot with innovation and now advertising,” P&G Chief Brand Officer Marc Pritchard says in this interview at Cannes with Beet.TV.

“What we’re trying to do is merge the ad world with other creative worlds of film making, music, comedy, technology, journalism and the encouragement that I would provide is for others to join forces with these worlds.”

P&G LifeLab showcases the integration of technology into brands to create better consumer experiences. “It includes a partnership with Thrive and Arianna Huffington where we’ve embedded her micro steps for positive mental well being and emotional well being into our everyday products like Oral B,” says Pritchard.

Also within P&G LifeLab is the company’s SK-II FutureX Smart Store “so you can get the entire retail experience, which kind of replaces advertising to a large extent,” Pritchard adds.

A creative partnership with John Legend integrates multiple genres to explore various aspects of humanity and the human experience—including parenthood, modern masculinity, music and social justice—with P&G and its Pampers, Gillette and SK-II brands.

“We have a partnership with Saturday Morning premiering THE LOOK, a film that will help change your perspective on racial bias and it includes VR experiences from Verizon Media RYOT so you can immerse and have empathy at the same time.”

THE LOOK follows The Talk, which two years ago addressed racial bias and the Black Lives matter social movement, as Campaign reports.

“Finally, to make sure that we can get diversity and inclusion behind the camera, we’re working with Alma Har’el on re-launching Free the Bid into Free The Work, which will get women and underrepresented creators behind the camera,” Pritchard says.

“We love our existing agencies, and add on top of that creative partnerships with these different geniuses to be able to create a new abundance of creativity.”

You are watching Beet.TV coverage of the CMO Growth Council Summit in Cannes.  This series is presented by Teads.   For more videos form our series, visit this page.   Please find all our coverage from Cannes 2019, right here.  

That’s a person-level frontier that FreeWheel plans to tackle, according to Claudio Marcus, the GM of the company’s Data Platform. In this interview with Beet.TV, Marcus recaps FreeWheel’s progress on TV advertising planning and attribution, calling measurement “a huge challenge.”

On the attribution side, FreeWheel took on the role of TV advocate in 2016 when it conducted research “just to understand the impact that TV advertising has on different types of clients’ business.” There followed secondary research in which FreeWheel hired a firm to find any study that touted cross-channel or multi-touch attribution.

“The more interesting part was actually the secondary research,” Marcus notes. That’s because out of some 164 studies, “only twelve actually included TV. So here is TV, the biggest communication channel in the world and it basically wasn’t getting its due credit when it came to cross-channel attribution.”

Since then, FreeWheel has provided to “qualified attribution firms” household-level ad exposure data, free of charge, “so that they could include that in their cross-channel studies and their ability to measure television more effectively. That’s been a big success.”

FreeWheel has also been working with the programmer members of the audience-targeting consortium OpenAP to understand de-duplicated reach across those members. “Because as things get more and more fragmented, advertisers want to be in those new places where there are audiences, whether it’s different channels or different platforms. But they also want to make sure that they’re not hitting the same people that they were hitting by going in traditional linear TV.”

Earlier this year, FreeWheel licensed VIZIO smart-TV data from Inscape and built a nationally representative model “which is really a co-mingled data set between the Comcast set-top box data and the smart-TV data.” Among other things, the data helps programmers that sell on national basis. “They want something that’s more nationally representative. They want to be able to forecast national impressions. They want to be able to measure on a national basis,” Marcus says.

There are disparities in data gathered from boxes and smart TV’s. Within Comcast Cable’s footprint, there’s an average of about 2.6 cable boxes compared to about 1.1 devices in homes with smart TV’s. “What that means is that there’s some viewing that you’re missing.”

Meanwhile, smart TV’s have their advantages over boxes. “It has lower latency, it covers OTT as long as it’s content that has been previously fingerprinted on linear,” Marcus says.

As IP-delivered content proliferates, so do devices that receive the content. Problem is, not all of the devices that connect to WiFi “are associated with people in a specific home” because some belong to visitors.

“As we think about moving TV measurement from a household level to an individual level, it helps us to understand who’s home and who’s not. So that we can start to get better models when it comes to what’s called viewer attribution.”

This video is part of the Beet.TV preview series titled “The Road to Cannes.” The series is sponsored by 4INFO. Please visit this page for additional segments.

“I think we’ve got a lot of bets in motion right now,” says Janet Balis, Global Advisory Leader, Media & Entertainment, at professional services provider EY.

“Some bets are bringing things together and other bets are creating more walled gardens. Right now it remains to be seen how it all plays out, but I think we’re going through this open and closed ecosystem debate,” Balis adds in this interview with Beet.TV.

She lauds the efforts of the OpenAP audience-targeting consortium as “a great step in that direction” of industry unification. Meanwhile, consumers are dabbling with a preponderance of OTT and streaming television choices while “the entire industry is playing catch-up mode” in figuring out how best to reach those viewers.

Referencing this year’s TV UpFront season, Balis sees a mix of legacy mindsets and behaviors and the reality of a shifting landscape. “I would imagine that next year’s UpFront will look quite different. I think right now it’s sort of got a foot in both worlds.”

Aside from media and technology companies, brand managers face major hurdles just trying to take advantage of audience segments in advanced TV. “Once we change all of those models, they have to change the entire infrastructure within their companies,” says Balis.

She sees a future in which marketing and customer experience, which today are often separate departments, will have to come together. “We have to build a smarter experience for consumers because that’s their human expectation of brands.”

Advertisers won’t be focusing just on the ROI of individual campaigns but “total lifetime value to get loyalty, retention and value from customers. Fundamentally, what that requires is embracing first-party data, enhancing it with second- and third-party data.”

Asked about her expectations for the upcoming Cannes Lions International Festival of Creativity, Balis recognizes an underlying “tension” but reminds that, “Ultimately, Cannes Lions celebrates creativity and we have to remember that. It’s about the art of the craft and really celebrating the stories that are told.”

This video is part of the Beet.TV preview series titled “The Road to Cannes.” The series is sponsored by 4INFO. Please visit this page for additional segments.

Having helped to create Innovid 11 years ago to transform video experiences on the advertising side, “It’s finally here if you look at connected television. We see dramatic changes in that environment,” CEO & Co-Founder Zvika Netter says in this interview with Beet.TV. Among other topics, he discusses Innovid’s participation in special sessions featuring a roster of industry leaders at the Cannes Lions International Festival of Creativity later this month.

Citing companies like Netflix, Roku and Amazon, Netter observes, “if you see what they’re doing, they’re basically working on the experience. It’s the selection, it’s the quality of the content, the personalization, how you navigate. Companies are trading in the billions just because they pay attention to the user and optimizing their experience.”

What Innovid is about is “exactly that for advertising,” Netter adds. “How do we create the technology and the process and structure to create a better balance between advertising and content?”

If done correctly, this balancing act produces winners in the form of viewers, publishers and advertisers. “We work with all three contingencies. We’re in a great spot in the middle and we’re growing very fast.”

Earlier this year, Innovid secured $30 million in funding from Goldman Sachs to help expand its global footprint, and the company recently hired 60 more people. “We built a three-year plan to keep expanding the company both from a product offering but also geographically,” including in Japan, Spain and soon Germany.

“Connected TV is everywhere physically in the world. There are similar needs on that front,” Netter says.

“It finally has enough scale for them to care about it to have a conversation and see what the industry really needs,” Netter says of connected-TV. “It’s not just about us pushing the great next feature to buy something from your TV to your phone. It’s actually listening to CMO’s and publishers and understand what do they need, what do they care about these days and addressing that.”

This video is part of the Beet.TV preview series titled “The Road to Cannes.” The series is sponsored by 4INFO. Please visit this page for additional segments.

In this interview with Beet.TV, McGurn explains the company’s new relationships with distributors and why the upcoming Cannes Lions event is “always a dealmaker’s paradise” for Vevo, which is owned by Universal Music and Sony Music and has global music video licensing rights with hundreds of other labels as well.

About this time last year, Vevo decided to phase out elements of its owned and operated platforms. With its business centered on YouTube distribution, it wasn’t cost effective to continue funding video distribution on its own.

The subsequent strategy was “finding endpoints of distribution in neighborhoods that users frequent where they might enjoy music videos again on television,” says McGurn. Vevo is about to divulge “a number of partnerships” and is offering “inventory anchored in connected television in the YouTube application on the TV’s and in living rooms to market in the UpFront.” McGurn quantifies the inventory at “about a nine-figure body.”

Vevo has typical inventory sharing relationships with MVPD’s in the 10% to 15% range “and they sell it on an audience basis, nothing specific to music or videos.”

The company handles sales for the rest of its inventory, including the use of various programmatic channels and working with SpotX. “We have the mass majority of inventory that’s there and we are a centralized point of buying for music television on all these distributors,” says McGurn.

“The demand is there. We have a larger supply than most people would even know about. The reaction so far from those buyers has been very positive and we think we’ll be able to sell it out in the UpFront.”

McGurn says Vevo’s “technology stack in the living room starts with FreeWheel. That’s our dynamic ad insertion vehicle.”

Vevo is counting on search, discovery and recommendation to ramp up ad sales, along with its understanding of the viewing behavior associated with music television that “far exceeds short-form behavior. We can see all the way up to sixty-five minutes of viewing behavior in a lean-back experience on TV’s if that search and discovery and recommendation is hit right.”

Looking ahead to next month in France, McGurn says, “Cannes for us is always a dealmaker’s paradise” as the company seeks domestic and global deals based on its extensive video licensing rights. “Audiences are aging in the living room and we represent a great counterbalance, to reaching almost twenty-five percent of every country’s population that we operate in.”

This video is part of the Beet.TV preview series titled “The Road to Cannes.” The series is sponsored by 4INFO. Please visit this page for additional segments.

Although Cannes Lions started in 1954, it wasn’t until the last decade or so that brand marketers began to attend, represented by the likes of Procter & Gamble. “They’re coming in a slightly different way,” Thomas notes in this interview with Beet.TV. “I think historically they were brought by their agencies but now they’re kind of coming on their own volition.”

Last year’s event saw the launch of the CMO Growth Council, a partnership with the CMO Masters Circle of the Association of National Advertisers featuring 25 CMO’s from some of the world’s biggest global brands. “Cannes Lions really is about how creativity will drive your business and that means growth. One place they believe they can unlock growth is through the use of creativity,” says Thomas.

The CMO Growth Council has since met in such locales as Dubai, Los Angeles, New York and London. “They’re coming together again at Cannes this year to continue to develop the conversations, publish white papers talk about the specific issues that marketers have.”

In adding two awards this year—the Entertainment Lions for Sport and the Creative Strategy Lions—the folks at Cannes had some doubts about the latter. “We didn’t know how the industry was going to respond,” Thomas says. Given initial estimate of perhaps 250 entries, “at the last count we’ve more than three times that many.”

CLX is designed around immersive and interactive experiences with some of the world’s best-known media and entertainment creators, including Activision Blizzard, Adobe, NBCUniversal and Tik Tok from China. “I think if we look across the festival over the last few years, that’s the most interesting thing is the number of different organizations that want to get engaged, who think they can provide solutions for clients and brands.

“It used to just be an advertising festival and it’s just not that anymore,” Thomas adds.

He mentions in passing last year’s Cannes Lions and the absence of Publicis Groupe, plus some shrinkage in the adtech space over the last few years. But events continue to be in demand because of a “human need, which is to be face-to-face and to be with other people,” Thomas says.

This video is part of the Beet.TV preview series titled “The Road to Cannes.” The series is sponsored by 4INFO. Please visit this page for additional segments.

In this interview with Beet.TV, Colella talks about working with Sky, which is 100% addressable, and the value of the OpenAP audience-targeting consortium in the wake of the departure of Warner Media.

NBCU recently renamed Audience Studio, its in-house, audience-targeting offerings, to AdSmart, which is the moniker Sky has used, as Reuters reports. NBCU is sending a team to Europe next month to discuss how to service brands together on a global basis, according to Colella.

“We understand that data’s different and vendors are different and systems are different. But many times, a brand is looking to create a global marketing campaign” based on a common audience target or “different audiences for different locales.”

Given NBCU’s presence in the U.S. and Sky’s in the U.K., Italy and Germany, advertisers “can put a greater footprint on their campaign,” she says.

In the United States, the first attribute of OpenAP is simplification, according to Colella. “Rather than clients going ahead and creating an audience target once for us, once for Fox, once for Viacom, they’re able to create that target audience once and then spread it amongst the publishers.”

Other benefits include scale and unified workflow. “Every publisher that’s in the consortium will offer that same workflow, so it will be easier for our agencies and for our brands.” OpenAP is about to release version #2 of its open workflow. “What it does do is it allows people to transact in the same way. What it doesn’t do is determine spend between the publishers, because of course everyone has their own secret sauce,” Colella says.

Lastly, she adds about OpenAP, “We really try to pool the advanced advertising spend to come up with better solutions for our agencies.”

NBCU’s own identity graph was made available to OpenAP last summer “and we’ll be implementing that later this year.”

Asked about the upcoming Cannes Lions gathering, Colella says that while advanced audience targeting is important, her main focus will be on content.

“We have both talent in front of the camera and behind the camera. Everything from storytelling to video to advertising and we want to bring that to the forefront.”

This video is part of the Beet.TV preview series titled “The Road to Cannes.” The series is sponsored by 4INFO. Please visit this page for additional segments.