“We’re actually introducing something that we think is really informative and revealing things about the new brand identity that’s going to be associated with this advertising company,” McDonald adds in this interview with Beet.TV.

Earlier this month, AT&T prevailed over the Justice Department in its bid to acquire Time Warner’s assets, foremost among them HBO, Turner and Warner Bros.

“We are very excited about the outcome of the trial,” says McDonald. “For sure, this actually allows our business to actually go forward and execute against the strategy that we believe is really going to be very, very valuable to consumers, to the marketers and publishers we work with as well as to the AT&T business for all.”

The branding effort at Cannes introduces “a new business that reflects a welcoming of the creative canvas, tied together with informed by technology and data in a way that truly advertising companies haven’t existed before.”

There are no words in AT&T’s branding unveiled at the Carlton, just colors, starting with “trusted blue on one end” signifying the company’s 140-year roots and the brand’s “credibility and high integrity,” says McDonald.

“And that transitions across the face of the Carlton to produce a new color, bright coral, which has all of what that color embodies. Energy, passion, innovation. And that is the brand color of the new name for this advertising business and we can’t wait to talk more about what we’re going to be doing inside that business later this year.”

“We’ve been working with people like BrightLine for a long, long time, Innovid, true[X] and others,” Naylor says in this interview with Beet.TV at the Advanced Advertising Summit. “It think we’re at an inflection point because my volume of orders for all of last year I’ve already booked year to date. That’s two hundred, three hundred percent growth. Very smart growth.”

A few weeks ago, Hulu served video trailers for the Warner Bros and MGM movie “Tomb Raider” that were interactive ads to the extent that viewers could order tickets to a nearby theatre from Fandango. As Variety reports, part of the strategy was to lessen the time between people seeing a movie trailer and actually going to a theatre.

“So I think as people, viewers in particular, continue to expect that they can interact with TV ads, you’ll see marketers take advantage of the opportunity,” says Naylor. “It’s a real opportunity to go beyond a conventional fifteen or thirty and I don’t see why it shouldn’t continue to go up and to the right.”

Such interactive spots are priced at a premium “because the results are superior in terms of brand awareness and purchase intent and even just at the most basic level, time spent with the ad. These ads just get more attention and I think expectations are going to just continue to increase for the viewer.”

Interactive ads typically begin with a conventional spot and some kind of call to action. “Maybe it’s an overlay or some kind of creative element to alert the viewer that they can interact. Once they interact it can be a video library, it could be a photo library, or a transactional unit. There’s a whole hoist of opportunities once you get people to engage.”

It’s a “modest call to action that lets people know pick up your remote, pick up your phone you can play around with this and learn more.”

Naylor likens growing consumer engagement with interactive ads to the advent of touch screens and peoples’ evolved expectations to encounter touch screens just about everywhere.

“I think sooner or later people just expect, of course I should be able to transact with a set. It’s IP TV. It’s a connected environment.”

This video was produced at the Advanced Advertising Summit in New York. Please find more videos on this page from the Beet.TV series presented by 4C.

Turner Ignite Sports is the latest iteration of Turner Ignite, which was created to offer content and data solutions. It’s described as an in-house, full-service sports marketing agency focusing on intellectual property, live events and experiential marketing, creative services and data solutions, as ADWEEK and Digiday report.

In an interview with Beet.TV, Kavilanz says Turner Ignite is well into virtual reality video creation along with finding niche audiences for marketers across Turner’s massive social, digital and linear presences.

One example is Turner Ignite’s work to promote Sully, the Warner Bros drama film about the “Miracle on the Hudson.” Calling VR “a fascinating place where we love to experiment,” Kavilanz explains how a VR camera affixed to the underside of a helicopter simulated the flight path of the crippled airliner, generating video that was augmented by CNN footage.

Having created a compelling piece of content, the next challenge was locating and targeting VR enthusiasts, according to Kavilanz.

“Given the fact that we are able to access all of Turner’s social handles, we’re able to find people who like VR,” Kavilanz says. “We have found that there are certain people who will watch anything that’s VR-centric on YouTube or Facebook. Because of our unique structure, we’re creating an audience of people who love VR in addition to people who are fans of a respective show.”

Turner initially believed its Turner Ignite clients would consist mostly or solely of its linear TV advertisers. But with so many marketers of all sizes having jumped onto the content marketing bandwagon, they need help finding audiences for it, according to Kavilanz.

Most of Turner Ignite’s work involves traditional one- or two-minute videos. “The way we typically structure these deals there is a content component and a media component,” Kavilanz says.

Using its data and insights to make sure the content reaches right audience, Turner Ignite guarantees video views or impressions. “About 70% of our deals are on a cost per view basis and the balance on a CPM basis,” says Kavilanz. “We’re also offering the opportunity for guarantees of a minimum of 30 seconds of view time, which is very unique and something advertisers are increasingly asking more and more to participate in.”

One code in particular that Turner Ignite would like to crack is video sharing, according to Kavilanz. “What we’re going after is not just deriving a quality view, we’re trying to unlock the share,” he says. “That’s something that we’re spending a considerable amount of time figuring out how we can do both.”