Sky, the UK’s leading pay-TV platform, is amongst the broadcaster platforms whose addressable TV systems now afford targeting based on the in-store purchase behavior of identified viewers.
Its AdSmart addressable TV system allows targeting of Sky subscribers identified using 1,200 available attributes. Some AdSmart head Graeme Hutcheson says those include:
“We’re able to offer advertisers a route to targeting ads based on purchasing behaviour,” Hutcheson tells Beet.TV in this video interview. “Dunnhumby is another route in to an FMCG market which traditionally doesn’t use TV for an ROI per se.
Hutcheson says the Dunnhumby work will allow advertisers to target buyers of specific product categories – say, shampoo or cat food. That could strip out waste and make their ads more effective.
The greater refinement means Sky is selling advertisers against their business outcomes, not just tradtional proxy metrics.
“We’re talking to retailers more about business KPIs, rather than before the traditional TV sense was ‘what reach do you want to achieve?’, ‘what frequency do you want to buy at?’,” he says. “We’re trying to design campaigns around a business KPI.”
In the two and a half years since launch, Sky AdSmart targeted ads have spread across Sky’s many platforms:
live linear satellite TV via set-top box.
VOD via set-top box
Recorded DVR play-back
SkyGo mobile app, both linear and VOD
This video was produced in London as part of our Addressable & Advanced TV Summit hosted by Sky Media and presented by FreeWheel and Invidi. Please visit this page for additional segments from the event.
]]>So, with live sports the jewel in the crown of TV content today, are the digital networks really challenging traditional TV operators for the rights? Will traditional TV really lose its hold over top competitions?
Not so fast – each of the deals above was really about marketing, building the brand of at least one of the partners involved: the NFL outside the US, BT Sport to potential subscribers, and women’s soccer to the uncoverted.
Sports TV rights remain hugely lucrative – money the online upstarts may not stump up. But that doesn’t mean they have to stay locked to TV, and it doesn’t mean the online platforms won’t still have content to gain.
In this video interview with Beet.TV, UK pay-TV platform leader Sky, which paid a record £4.18 billion to retain three years of English Premier League soccer, reveals it hopes to distribute videos from its coveted locker through the big online platforms.
“We’ve got really strong partnerships with YouTube, Facebook and Twitter – they are a very key part of our marketing plan for our content rights,” says deputy MD of the company’s Sky Media ad sales division, Jamie West.
“In the next Premier League season coming up in August, we’re already exploring with all of those platforms how we might share our Premier League clip rights across those platforms, within the rights restrictions that we have – time-bound, day of match and that sort of thing.”
For Sky, this is not altruistic. Nor does it represent a tipping point in which the networks gain full-match, live or substantial programming rights. Sky is not about to give away the content it has spent heavily for. But it does want to use soccer clips as a shop window for its full package of Sky Sports subscription channels.
“For us, it’s about driving consideration back to the Sky Sports app, the Sky Sports platform,” West adds.
“Some of our relationships are very deep-rooted relationships – whether it’s F1, Premier League in the UK or Bundesliga in Gemany. We look to build really strong relationships with those rightsholders that really amplify their content across multiple platforms.
“So for us in that social world it’s about bringing that consumer back to the (pay-TV) platform.”
Such a distribution arrangement would be interesting. In addition to owning live, multi-platform broadcast rights, Sky also has a separate package of rights governing online clips. Whilst these are also made available through Sky Sports’ own apps, the company also struck an exclusive sub-licensed distribution deal with its sibling company News UK, the newspaper publisher, to run the clips across The Sunday Times, The Times and The Sun newspapers’ digital properties.
The Premier League has tended to use coercion and legal action to remove illegal use of its rightsholders’ content from social and other online platforms, its latest concern being Vine clips and live rebroadcasts through Periscope and Meerkat. Sky Sports’ own football channel on YouTube stops short of including match clips.
Partnering with the online platforms to gain visibility for its premium content is nothing new. In a recent fire-side chat with me at The Guardian’s Changing Media Summit, Sky’s UK CEO and Facebook’s EMEA VP explained how the pay-TV company runs events to trail things like Game Of Thrones and Sky News stories on Facebook, all building awareness of Sky’s own core pay platforms – but never giving away too much.
This interview is part of our series “The Road to Cannes”, presented by FreeWheel. Please visit this page for additional segments.
]]>The risk is not just cultural but economic. But one Belgian operator hopes highly targeted TV ads can help it ward off a new wave of globalization.
“If we want to remain relevant … we need to be able to keep advertising money in Belgium, so they can invest in that content,” says consumer strategy director Jim Casteele of Proximus, a quad-play operator in Belgium.
“You have to bring the capabilities online available to Google to your own ecosystem as well – otherwise, advertisers will go to platforms where they can target better.”
Proximus launched a multi-platform catch-up TV service a couple of years ago, and is currently in technical pilots with RTL to test programmatic ad sales. Casteele wants to ensure Belgian businesses can buy ads with the kind of sophistication they can online, in arenas mostly controlled by US digital giants.
“We want to bring those capabilities to both advertisers and broadcasters, so we can have a healthy content ecosystem in Belgium,” he adds. “Smart advertising can help keep a health ecosystem.”
This video was produced in London as part of our Addressable & Advanced TV Summit hosted by Sky Media and presented by FreeWheel and Invidi. Please visit this page for additional segments from the event.
]]>Investments have included $5m in to native ad tech company Sharethrough in 2014, and, recently, a $10 million round in to DataXu. Now the company is seeing some of the first synergies from its Sharethrough commitment.
“Sharethrough will have been integrated, by the end of this month (May), across all of our app estates, so we’ve got really sympathetic and empathetic ad experiences across our Sky News app, Sky Sports all, all of those sorts of things,” Jamie West, the deputy MD of Sky’s Sky Media ad sales division, tells Beet.TV in this video interview.
Sharethrough’s technology helps advertisers present messages in mobile apps that resemble the content users are already browsing.
That leaves DataXu, the Boston-headquartered, data-driven marketing analytics company. How will Sky harness the outfit run by CEO Mike Baker?
“DatXu is really about being a key enabler for our product Sky AdVance (which) takes our unique understanding of TV consumption and applies that in to the digital estate, allowing us to serve sequential and frequency-capped campaigns across multiple platforms,” West adds. “DataXu’s part in that is to act as our demand-side platform to enable us to buy inventory off Sky’s platform.”
West says Sky realized a few years ago it couldn’t build everything itself, so set up a San Francisco outpost to spot opportunities to work with startups. Now West says the company is looking globally for best-in-class vendors in which to take strategic stakes, to go on giving it an ad advantage.
This video was produced in London as part of our Addressable & Advanced TV Summit hosted by Sky Media and presented by FreeWheel and Invidi. Please visit this page for additional segments from the event.
]]>Invidi EVP Michael Kubin tells Beet.TV, in this video interview: “If there’s a tipping point, we’re either at it or soon to be at it. The distributors … clearly understand what the potential is for them – it’s a huge revenue enhancer as far as revenue per advertising minute is concerned.”
Invidi’s technology is used by operators including DirecTV, DISH, Comcast and Verizon – numbering some 68 million household as customers – around half of which serve some form of addressable television.
EMarketer sees addressable taking 13% of US TV ad spend by 2019 – a percentage that would constitute $11.5 billion.
Kubin says advertisers have been slower to come around to a prospect he says is a no-brainer.
“It’s been quite a process to get them to understand why this is better, but they’re very much there,” he adds. “There are over 700 campaigns now that have been done addressably – over 90% have been successful enough for those advertisers to go back and do it again, integrate it in to their marketing plan, spend more money on it.
“A few years from now … we’re going to wonder why anybody ever spent money on linear TV without addressability. There’s really no down side.”
This video was produced in London as part of our Addressable & Advanced TV Summit hosted by Sky Media and presented by FreeWheel and Invidi. Please visit this page for additional segments from the event.
]]>RTÉ Player, a catch-up VOD service, first launched on desktop in 2010, later coming to mobile systems, cable and games consoles. Now the build of an upcoming revamp is the top priority, according to RTÉ digital media sales commercial director Conor Mullen.
“We’re developing the next generation of our player,” he tells Beet.TV in this video interview. “That’s rolling out beyond catch-up so that we’ll be able to deliver as an IPTV service.”
“We’ve been looking at dynamic ad insertion … we’ve started an internal trial on that this summer with the view that, if it works, we’ll roll it out, probably a pilot this year with commercial full load next year.”
Mullen is pegging dynamic ad insertion (DAI), the practice through which targeted ads are delivered are delivered in digital linear streams to unique users, as the biggest opportunity for RTÉ.
Like many public broadcasters across Europe, it is under pressure from rival commercial broadcasters, funding squeeze and digital competition from big online beasts.
Despite deploying RTÉ Player on a connected TV platform, Mullen says mobile is where all the consumption is. That means enabling DAI for mobile video is a key goal. Mullen says RTÉ uses FreeWheel for its video ads, and envisages continuing in to the future.
This video was produced in London as part of our Addressable & Advanced TV Summit hosted by Sky Media and presented by FreeWheel and Invidi. Please visit this page for additional segments from the event.
]]>“The digital migration is not complete until it disappears,” says Baker, chief of DataXu, an ad-tech vendor bringing data science to the planning of ads on digital media and, increasingly in video and TV.
“What I mean by that is, once the devices and data are connected up, then it’s all just marketing and advertising again; the silos disappear. The culmination of that is the disappearance of TV in to this broader movement.”
DataXu began in 2009, at the cusp of the programmatic boom, starting by empowering advertisers’ digital display. Since then, it has branched out in to mobile and, latterly, video and TV, culminating this year in a $10 million investment from UK pay TV platform leader Sky.
Baker is using math to dream up more efficiency for advertisers.
“Could I frequency-cap against a desired audience to show a number of advertisements in a month over all devices, either at the person level or the household level, or the market level?,” he wonders.
“Can we work towards a sentiment shift for a product… by a/b testing users, By looking at their internet activity post-exposure to TV?”
This video was produced in London as part of our Addressable & Advanced TV Summit hosted by Sky Media and presented by FreeWheel and Invidi. Please visit this page for additional segments from the event.
]]>He explains that FreeWheel works with some 90 percent of U.S. broadcasters and operators. And, the company is well entrenched in the U.K. with Sky and Channel 4, he says in this interview.
Bremond says that the company is evaluating opportunities in other regions including Asia.
“The US started four or five years ago with VOD. In Japan, programmers only started six months ago, putting programs on VOD platforms,” Bremond – just back from a trip to Asia – tells Beet.TV in this video interview.
“Customers are demanding more premium products. This is the beginning of opportunities to go and build in these markets.”
November 2015 research by Digital InFact found the proportion of Japanese advertisers that had placed VOD ads rose from 20% to 37.8% through 2015, still a minority.
This video was produced in London as part of our Addressable & Advanced TV Summit hosted by Sky Media and presented by FreeWheel and Invidi. Please visit this page for additional segments from the event.
]]>In this video interview, Vodafone head of brand strategy, insight and operations David Still tells Beet.TV the UK mobile telco has been deploying “a very new and very different approach to understanding our media ROI” – testing.
“We have been conducting an enormous amount of test-and-learn experiments to better understand how each of our media channels work in isolation and combination, and to determine exactly what they deliver back to the business,” he says.
Vodafone worked with DataXu, which recently received a $10 million investment from UK leading pay-TV platform Sky, to comb through its data, delivering thousands of experimental media buys in different UK regions, helping it understand the effect of marketing spend, by channel, at a regional level.
Still says it “optimized our media channel mix”, meaning it “returned millions of pounds back to the business without impacting our sales”, allowing Vodafone to “spend the same money in different ways and deliver sales increases from advertising”.
Specifically, Vodafone claims to have boosted efficiency by 10% using DataXu‘s Market Pulse suite.
Still says more marketers should approach a scientific, testing approach to media buying – and measuring its effect, though he acknowledges not every brand will find it easy.
“It can be very hard to get set up, it’s very labor-intensive,” he says. “It puts more complexity back in. You go through short-term pain for long-term gain.”
Still’s advice: “Get stakeholders on board early on. Start with a small test to demonstrate the potential of test-and-learn as an approach. Stick the course.”
This video was produced in London as part of our Addressable & Advanced TV Summit hosted by Sky Media and presented by FreeWheel and Invidi. Please visit this page for additional segments from the event.
]]>But times are a-changing, and new technology means targeted television can serve advertisers just like laser-guided online ads can.
“TV can absolutely be a performance medium,” according to Marco Bertozzi, the longtime Publicis executive whose latest role is as chief revenue officer of Performics, the new, group-wide performance advertising division that spans the group’s agencies.
“Direct-response television today has relied on the idea of some loose targeting in terms of day-parting and looking for low-cost audiences you hope will convert,” Bertozzi says. “Addressable TV and programmatic TV will bring a different angle on that performance discussion.
“We’re going to convert from low-cost, high-reach, high-frequency TV advertising to the opposite end of the spectrum – highly targeted, relevant audiences to then convert.
“The omens are very good. I see a world where what was known as DR (direct response) TV becomes something where we can get specific about who we want to reach.”
]]>But Caspar Schlickum doesn’t quite see it that way. While many tech vendors get excited about converting TV in to another programmatic video end point, the regional chief of Group M’s Xaxis data unit, is more realistic, saying the promise just isn’t there yet: “We’re a way away from really having figured that out.”
In this video interview with Beet.TV, Schlickum says: “We’re thinking about addressable TV very myopically.
“There’s a bigger opportunity – certainly, in the short term and, I would argue, even in the medium and maybe long term – on taking TV data and making that addressable across existing platforms like display and video.”
That is an inversion of the way that many people are coming to view the TV advertising opportunity – not using data to super-target and deliver ads on the TV screen, but using TV viewing behavior data to target ads to consumers in other, online media.
That’s something Xaxis is doing with its Xaxis Sync offering – which serves ads on to second-screen devices, in sync with their TV airing – and with a new suite, already available in Italy and due for roll-out elsewhere, that targets light TV viewers online using demographic and interest profiles.
“We need to think about TV much more holistically,” Schlickum adds. “Rather than just a place to put ads … not just the executional platform … also a place where data is being generated.”
This video was produced in London as part of our Addressable & Advanced TV Summit hosted by Sky Media and presented by FreeWheel and Invidi. Please visit this page for additional segments from the event.
]]>Ahead of the iconic festival starting June 21, a record total 40,133 award entries have been submitted. Lions Innovation, which will see data, technology and creativity intersect, has received 226 entries into the Innovation category and 619 entries into Creative Data.
Ad tech companies are shaking up the media sector by promising advertisers more precise control over consumer targeting and trading.
Cannes Lions CEO Philip Thomas, the UK magazine publishing veteran who took the helm at the awards in 2006, tells Beet.TV in this video interview the festival is adapting to reflect changes: “It’s a mirror of the industry. All of the ecosystem is now attending.
“Our festival is just about creativity, so finding a place for ad-tech has been a challenge. But this year we’ve launched our Innovation Festival, which will give them a part to show what they can do. Unilever are bringing 50 startups to a startup academy we’ve got.”
| Branded Content & Entertainment Lions | 1,394 |
| Creative Data Lions | 619 |
| Creative Effectiveness Lions | 160 |
| Cyber Lions | 3,738 |
| Design Lions | 2,409 |
| Direct Lions | 2,813 |
| Film Lions | 3,070 |
| Film Craft Lions | 2,205 |
| Glass lion: The Lion for Change | 166 |
| Health & Wellness Lions | 1,430 |
| Innovation Lions | 226 |
| Media Lions | 3,179 |
| Mobile Lions | 1,246 |
| Outdoor Lions | 5,037 |
| Pharma Lions | 432 |
| PR Lions | 1,969 |
| Press lions | 4,470 |
| Product Design Lions | 280 |
| Promo & Activation Lions | 3,196 |
| Radio Lions | 1,720 |
| Titanium and Integrated Lions | 374 |
| TOTAL | 40,133 |
We interviewed Thomas as part of the series The Road to Cannes, our lead-up to the Cannes Lions Festival presented by Coull. Please visit this page for additional segments. This interview took place in the London office of SMG.
]]>But, whilst the new smartwatch category may whet appetites with the prospect of advertising to audiences’ wrists, the reality will have to be more sensitive, more nuanced, and may be more about input than output.
“Nobody’s really cracked what the Internet Of Things opportunity is. Will we deliver advertising? Probably, but not in the way that we’re currently used to it,” SMG digital managing partner Isabelle Baas tells Beet.TV in this video interview.
“Will we use it more as a way of saying, ‘I know that you’re here, would you like to see a message on a display in store that’s around you?’? I think that’s probably more the type of advertising that we’ll play in.”
In April, Juniper Research forecast marketer spending on smartwatches will reach $68.6m by 2019. But that estimate could be far too small if you consider the smartwatch and mobile as interlocutors, rather than distinct devices.
“I think there’ll be much more data,” Baas adds. “What do we learn about the different sensors, what can we read from the information that will be made available to the screen? Rather than say, ‘I’m going to try to fit a display ad on the watch’.
We interviewed her as part of the series The Road to Cannes, our lead-up to the Cannes Lions Festival presented by Coull. Please visit this page for additional segments. This interview took place in the London office of SMG.
]]>Since then, the programme has been kept somewhat under the radar. But the man who runs it now opens up on the rationale and its early progress.
“In the past, we thought we could create everything ourselves,” SMG strategic development director Jim Kite tells Beet.TV in this video interview. “As technology is changing people’s lives, we can’t do it ourselves – we have to make new partnerships.”
NextTECHnow sees SMG representatives build relations with tech startups and groups around the UK, auditing their efforts for “business-ready” state.
“We have people on the ground in the tech hubs, constantly going to the accelerators like BBC Ventures, Collider or Seedcamp, feeding us new startups,” Kite says.
“We take (client) briefs out to TechCity and the other tech hubs (like) Newcastle, Bristol, Hull… connecting brands and technology solutions. We’re a kind of match-maker.”
So far, NextTECHnow has seen SMG bring brands tech from:
“We never have a problem with anyone turning up to our meetings, because everyone wants to see all this technology,” Kite adds.
We interviewed him as part of the series The Road to Cannes, our lead-up to the Cannes Lions Festival presented by Coull. Please visit this page for additional segments. This interview took place in the London office of SMG.
]]>“Standards like the RTB spec and the exchanges need to wake up start adding more metadata to these requests to enrich that buy for the brand,” according to Coull product VP Nick Forsberg.
His company analyzes videos to deeply understand the content and context contained within their frames, making that information available as more refined data against which to buy video ads.
“A lot of tech vendors in the world doing post- analysis are still very behind in terms of the moment we need to say, ‘Yes it’s okay to show an ad’.”
Coull of Bristol, England, in April unveiled a software development kit allowing mobile publishers to have access to video advertising.
We interviewed him as part of the series The Road to Cannes, our lead-up to the Cannes Lions Festival presented by Coull. Please visit this page for additional segments.
]]>Pippa Glucklish, UK co-CEO of SMG, tells Beet.TV the “tension between data and creativity” should be de-fused.
“People should be trying to weave those two things together,” she says in this video interview. “We need to let go of the idea that data is all about efficiency. Data unlocks and informs creativity.”
Glucklish will be looking for just such marriages when she helps judge Cannes Lions awards at the upcoming advertising festival this month.
SMG owner Publicis recently acquired the demand-side advertising platform and data management platform operator RUN to pull some of these functions in-house. Glucklish says agencies and clients are often confused by the number of vendors on the scene: “By buying our own … we’re not dancing to anyone else’s tune.” SMG continues to use other platforms, too, however,
We interviewed Glucklish in the London offices of SMG as part of the series The Road to Cannes, our lead-up to the Cannes Lions Festival presented by Coull. Please visit this page for additional segments.
]]>“We’ve seen … 40% more demand in the UK from Q1 to Q4,” according to video ad tech outfit TubeMogul’s UK MD Nick Reid. “We’ve also seen a 20% increase in CPM prices. Different regions are at different stages of understanding.
“We’re starting to see broadcasters like Channel 4 embrace the concept of automation. They’ve opened up their VOD to to automation – not yet linear but, it is the first iteration of automated trading.”
Reid says different regions around the world are at different stages of understanding when it comes to adopting programmatic automation.
“Programmatic TV won’t be an instant reality in markets like the UK because there are nuances when it comes to broadcast and supply,” he says. “However, broadcasters are starting to embrace the data they have in a way that can enable advertisers to be more specific when it comes to reaching target audiences.”
We interviewed him as part of the series The Road to Cannes, our lead-up to the Cannes Lions Festival presented by Coull. Please visit this page for additional segments.
]]>“Our industry in the UK is absolutely split 50/50 at entry level, and by the time you get to the top it’s only 25% [female], so that is a concern,” says Glucklich, the co-CEO at SMG London in this interview with Beet.TV.
Outside of the industry, Glucklich observes that there have been encouraging developments for gender equality of late, like the appointment of Katharine Viner as the first female editor-in-chief of The Guardian. She also notes that the ad industry fares much better in terms of the percentage of women in leadership positions than other sectors like finance and manufacturing. Her own boss, SMG’s global CEO Laura Desmond, is a woman.
But there’s still one glass ceiling in the ad industry that women haven’t broken through.
“I do hope that in my time in the industry we will see a female CEO of one of the major networks,” she says.
Later this month, Glucklich will represent the UK as a judge on the Media Jury at the Cannes Lions Festival.
We interviewed her as part of the series The Road to Cannes, our lead-up to the Cannes Lions Festival presented by Coull. Please visit this page for additional segments.
]]>He says that more than half of the company’s revenue is now coming from outside the U.S.
We spoke with the London-based executive about global trends and his expectations for the conversations at the upcoming Cannes Lions Festival.
We interviewed him as part of the series The Road to Cannes, our lead-up to the Cannes Lions Festival presented by Coull. Please visit this page for additional segments.
]]>It’s a charity ride in which Parker is one of 11 competitors. “We’re hoping to raise over £100,000. We’re racing our friends and colleagues at GroupM,” he says.
When he gets to the Cannes Lions advertising festival, creativity will be the watchword on the industry’s lips. Nothing new there – Cannes has been discussing creativity every year since its inception. But achieving that is changing over time, Parker says.
“Creativity now comes from collaboration … different people from different departments in different businesses coming together to try and bring simplicity,” he tells Beet.TV in this video interview.
“We have a couple of media owner partners who work on this floor (of our office). We’ve also got clients on this floor. We are in a world where you have to be more naturally open and collaborative. One or two people just do not own the answer. You have to remove all the walls. Cannes is a great celebration of that.”
We interviewed Parker as part of the series The Road to Cannes, our lead-up to the Cannes Lions Festival presented by Coull. Please visit this page for additional segments.
]]>“Technology has really focused on the area of targeting and direct response and unfortunately has left the creative industry behind,” Marco Bertozzi, global clients president at Publicis’ VivaKi unit, tells Beet.TV in this video interview.
“On both sides, we need to work harder at how we incorporate creative in to everything we do programmatically. We’re great at targeting thousands of different people, segments – we’re not very good at bringing the requisite creative to mirror that.”
The difference between the two sectors – creatives and technologists – can be summed up with some toys. Bertozzi says the ad industry likes playing with a fully-finished Lego spaceship, whilst programmatic practitioners just want some Lego bricks to build new things with.
The fusion of the two disciplines will be on minds at the upcoming Cannes Lions festival, which includes an innovation award and will be much attended by ad tech execs, as well as creative industry stalwarts.
We interviewed Bertozzi as part of the series The Road to Cannes, our lead-up to the Cannes Lions Festival presented by Coull. Please visit this page for additional segments.
]]>Marketing the missing services using video is something video ad tech firm Videology is helping one UK telco do, according to UK MD Rich Astley, who would not name the client.
“Video tends to be used as a branding and attitudinal medium,” he tells Beet.TV in this video interview. “In this instance, we’re seeing great results, from an ROI perspective, in terms of driving product sales.”
Think about serving up an ad for an IPTV subscription to a customer who is currently only taking phone and broadband, for example.
That is the kind of creative and innovative thinking Astley says typifies the relatively small UK market and which he says will be on display at the upcoming Cannes Lions festival.
We interviewed Astley as part of the series The Road to Cannes, our lead-up to the Cannes Lions Festival presented by Coull. Please visit this page for additional segments.
]]>“At the moment, we are looking to confirm one of our first global deals, which will mean Guardian Labs content created in London can be distributed across all of the media that are part and parcel of the Pangea Alliance,” she says.
That alliance is the Rubicon-powered programmatic system, announced in March, in to which The Guardian, CNN International, the Financial Times, Reuters and The Economist are putting their ad inventory. Whilst Pangea is designed for display ads, Watkins comments suggest she may try to scale branded content programmatically, too.
“It really does depend on the objectives of the campaign, whether we look to distribute that content off Guardian platforms,” Watkins adds. But, even if Guardian-produced branded content doesn’t end up published on Pangea partners like the FT, it may appear elsewhere: “One of the areas we’re going to move in to is white-label content production where we are creating content that solely sits on our clients’ owned channels.”
Having undertaken drinks brand Diageo’s first real-time content marketing campaign for Bailey’s in December, The Guardian will soon begin bringing real-time content to other Diageo brands, likely including Guinness, Watkins says.
At the upcoming Cannes Lions festival, she expects a refocus on the show’s awards track, demonstrating a fusion of technology and creativity.
We interviewed Watkins in London as part of the series the Road to Cannes, our lead-up to the Cannes Lions Festival presented by Coull. Please visit this page for additional segments.
]]>In beta testing since, now the alliance – which numbersThe Guardian, CNN International, the Financial Times and Reuters as well as The Economist – is already set to expand its membership in the next few months.
“We would expect to see, toward the latter end of the year, some announcements about other publishers joining,” Guardian global revenue director Tim Gentry tells Beet.TV in this video interview.
“We have created a number of new audience segments and a couple of custom ad formats. There will be many more custom ad formats that come online during the summer and further audience segments.”
But Gentry says Pangea members will not be collaborating on preroll video ad sales: “Each of us is in the same position as the whole market where there is excess demand and scarcity of supply. Collaboration doesn’t add a huge amount of value there.”
Like French conglomerate La Place, Pangea is powered by Rubicon Project, which Gentry says reduces complexity for the members.
We interviewed Gentry in London as part of the series the Road to Cannes, our lead-up to the Cannes Lions Festival presented by Coull. Please visit this page for additional segments.
]]>Group M’s data and audience unit Xaxis has already operated the scheme, dubbed Xaxis Sync, in the Netherlands, buying social mobile ads corresponding to TV spots identified by data partner Civolution. Now it is launching the scheme elsewhere including the US, as this release announces.
“About 60% of TV viewers are engaged with another screen while they watch mainstream linear TV,” Xaxis’ UK MD Nicolas Bidon tells Beet.TV.
“It allows u to get a greater share of voice. (With Xaxis Sync), even if your audience is busy while your spot is airing on TV – emailing their friends or watching their Facebook account – they’re still seeing your brand on these other screens.”
Beet.TV spoke with him at the recent FT Digital Media Conference. To view all our coverage of the conference, visit this page.
Disclaimer: Our coverage of the FT event was sponsored by Xaxis.
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