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Programmatic media buying is on the verge of a new era built on collaboration.

This was the key thread in the panel session on the future of programmatic run in association with digital advertising technology provider PubMatic at The Drum’s Agencies 4 Growth Festival. Watch the fascinating panel here.

Although advertising as a whole has been battered by the pandemic, the use of programmatic media buying continues to increase. At the beginning of October, IAB Europe published its 2020 Attitudes to Programmatic survey, which showed that the number of advertisers spending more than 41% of their display budget through programmatic channels had increased from 55% in 2019 to 77% in 2020. Similarly, the number spending more than 41% of their video advertising budget programmatically grew from 50% in 2019 to 54% in 2020.

As programmatic grows, the way it’s being managed continues to change. The IAB survey found that the number of advertisers using hybrid models, where brands bring some elements of programmatic buying in-house, supplemented with agency expertise, had doubled since 2019 to almost a third. In-housing of programmatic, meanwhile, fell from 38% of advertisers in 2019 to 20% in 2020.

Speaking on The Drum panel, Richard Kanolik, programmatic lead at Vodafone, put this change down to the growing level of programmatic expertise. Programmatic used to be a “black box” tended by the agency, he said, but now advertisers want more visibility and control of their media buy, and they can hire in the people to deliver that.

But he argued that there’s still a need for agencies to fill in the gaps.

“Advertisers can underestimate what’s required to bring programmatic in house,” he said. “Hence the hybrid model.”

This view was backed up by Chris Camacho, chief performance officer at Mindshare. He pointed out that in-housing involves more than just a deal with a DSP provider.

“You also need to think about the set-up, data, tools and talent,” he said. “It’s not easy, but with the right infrastructure, the right support and the right agency, it can be done. There’s a lot of value to having a guide.”

Lisa Kalyuzhny, senior director, advertising solutions, EMEA at PubMatic agreed that working together is crucial, both across the business and between the business and its agencies.

“It’s about knowing what your strengths are as a brand, and being able to use the people you have on the ground internally as well the agency, and being able to really collaborate. That’s where we’ve seen the most success,” she said.

But brands and agencies working together isn’t the only form of collaboration that’s changing programmatic buying. Kalyuzhny pointed out that the introduction of header bidding revealed to advertisers that they could be using 20 or 30 different partners to buy the same inventory, and they started asking themselves what the benefit was.

“Supply Path Optimisation has become a catchphrase for many different adtech initiatives. At the core, it’s about buyers understanding and optimising supply. To deliver better media buying and selling strategies, the collaborative relationships and understanding of both buyers’ and sellers’ goals are a must have,” she said. “In digital advertising, brands and publishers are ultimately working towards the same goal: creating a transparent programmatic set-up that optimises consumers’ ad experiences and values inventory at a fair price for all.”

Kanolik argued that programmatic’s transparency problems were self-inflicted, the result of an infant industry prioritising technology and innovation at the expense of clarity. But he also said that buy and sell sides know that transparency is crucial to programmatic maturing as a medium, and that awareness is bringing the two sides together.

“For programmatic to evolve into a trusted medium, transparency is key,” he said. “We’re moving towards that, and it will kick off a new era of programmatic advertising.”

To watch the entire panel discussion on the future of programmatic media buying, presented in partnership with PubMatic, click here.

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Sourced from The Drum

By Brian Steinberg

Depending on who is doing the talking, TV’s 2020 “upfront” market was absolutely horrendous or merely awful.

Advance advertising commitments for the next year of TV could be down as much as 15% to 20%, according to six media executives and ad buyers familiar with parts of the industry’s annual negotiations for commercial support for its next programming cycle. The projected shortfall takes place after a slew of regular TV sponsors were crippled by the coronavirus pandemic, and the TV networks’ ability to showcase original content was severely hurt by scuttled and delayed productions.

More concerning, perhaps: some of the drops in advertising outlays could become permanent, as advertisers scramble to get commercials in front of a viewing public that is turning increasingly to streaming, on-demand video. “Things we thought would happen in 18 months or two years are happening in real time,” says one media buying executive. “What may have been the right path six months ago will have to go out the window.”  That could leave TV fighting harder to keep ad dollars at a time when the medium needs them more than ever.

The nation’s five English-language broadcast networks could have seen the volume of ad commitments they secured for their next cycle of primetime programming fall by at least 9.3% to 14.6%, according to Variety estimates.  It is the first time since 2015 that upfront estimates have sagged. Based on conversations with media buyers and other executives, Variety estimates NBC, ABC, CBS, Fox and the CW have secured between $8.2 billion and $9.8 billion for their 2020-2021 primetime schedules, compared with between $9.6 billion and $10.8 billion for primetime in the 2019-2020 season. Last year, upfront volume surged between 5.5% and 7.4% over 2018.

UPFRONT VOLUME

IN PRIMETIME, AMONG FIVE ENGLISH-SPEAKING BROADCAST NETWORKS

2010  $8.1B to $8.7B

2011  $8.8B to $9.3B

2012  $8.8B to $9.3B

2013  $8.6B to $9.2B

2014  $8.17B to $8.94B

2015  $8.02B to $8.69B

2016  $8.41B to $9.25B

2017  $8.78B to $9.62B

2018  $9.1B to $10.06B

2019  $9.6B to $10.8B

2020  $8.2B to $9.8B 

 

Source: Variety estimates

The numbers should be taken as directional indicators, not hard, cold cash. Upfront figures are typically built on fuzzy math and rarely have any correlation to the ad money big media owners like CBS, Walt Disney, NBCUniversal, Fox Corporation and WarnerMedia collect by the end of the year. Advertisers can pull orders at certain moments in the season or “re-express” advertising if specific programming is yanked off the schedule, changing the nature of their commitment to purchase inventory. But they still serve as a sort of guide as to where money is being sent. In recent years, the figures have lent ballast to the theory that the networks can still keep new money flowing despite ratings erosion and viewers moving to streaming options. This year, the numbers indicate tricky trajectory ahead.

As bad as the numbers are, media executives say they expected worse. Movie studios, some retailers, and restaurant chains and travel marketers had little visibility on their future business, and cut spending. Automotive advertising, long a staple of TV advertising, was mixed.  The networks had to rely on insurance companies. pharmaceutical marketers and big consumer packaged goods giants – advertisers whose long association with TV has given them the ability over the years to command more favorable pricing rates year over year.

“The advertisers had aggressive expectations for rollbacks, because they all thought a lot of categories were on the side-lines, that the networks were going to get really nervous because they would not have enough of a base,” says one media executive. But the TV outlets resisted some of that pressure, pushing back against harsh demands until they could talk about the return of sports like the NBA, NHL, golf, and, most importantly, the National Football League.

The upfront showed “a mix of stronger demand than many people have estimated just a few months ago,” said Comcast CEO Brian Roberts at a recent investor conference, noting that the company sees “really good signs for both the third and fourth quarter. “

To be sure, the end results were not as robust as they have been in the recent past. Big TV networks in the last three upfront sessions have been able to snare double-digit percentage increases in the cost of reaching 1,000 viewers, a measure known as a CPM that is central to these annual discussions between U.S. media companies and Madison Avenue. Last year, NBCUniversal sought CPM increases of between 13% and 14% for primetime inventory, while CBS pressed for CPM hikes of between 14% and 16%. ABC sought 14%, Fox called for 12% to 13% and the CW pushed for 14% to 15%.

One year later, the rate increases are much more paltry, with ad buyers suggesting CPM rates rose just 3% to 4% for top inventory, with some media companies consenting to single-digit percentage rollbacks for less-desirable and less popular inventory. The media companies are also said to have offered rollbacks for digital inventory – even though some of it was in high demand from advertisers that were ready to spend.

Walt Disney, ViacomCBS, NBCUniversal and Fox declined to make executives available for comment.

If broadcast faced headwinds, cable squared off against a hurricane. Some media executives believe the volume of ad commitments at cable networks could be down by 20% or more.

To keep the dollars flowing, the networks had to be flexible. They offered compelling rates on digital inventory to stoke commitments to primetime. They gave sponsors more wiggle room to claw back dollars in case of a business downturn. And they made sure advertisers would be taken care of if certain big events, such as sports matches, never made it to air.

Even so, the upfront was beset by numerous obstacles that have not impeded it in the past. Consider that in May and June, when market haggling usually takes place, few executives knew when sports might return to the field, or when primetime favourites would start to film anew. NBCUniversal’s Olympics broadcast, slated for this past summer and often a massive spur to new ad talks, was postponed. A number of prominent advertisers – including Procter & Gamble and Unilever – called for the industry to shift the upfront to the fall or later in the year. And Nielsen rolled out a new measure of out-of-home viewing for entertainment programming that the networks had to convince some advertisers to accept.

The Madison Avenue manoeuvre to push back upfront talks may have backfired, according to one media buying executive.  Advertisers seeking so-called “calendar-year” deals – agreements that start in 2021 rather than the beginning of new fall TV – found higher costs, says the buyer. “I do think if anybody tried to wait to do calendar deals, they really got hurt.”

Procter undercut its own efforts, not waiting for its calls to shift the upfront to take effect. Instead, the maker of Pampers and Crest did a direct deal with ABC, CBS and NBC, according to two people with knowledge of the matter, rather than working through its agencies. The pact was for broadcast inventory only, these people say, and did not focus on cable. In September, Marc Pritchard, P&G’s chief brand officer, raised eyebrows when he said at an industry conference that “we’ve taken control of when we negotiate and buy TV media. To level the playing field, we negotiate directly with as many as possible.” Most large advertisers rely on one of the ad industry’s big media-buying firms to get such things done.  The consumer-products giant declined to offer any details of its deal with the networks, noting in a statement that “we do not comment with regard to any supplier negotiations given they are proprietary to our business.”

There were still some bright spots. Ad buyers suggest NBCUniversal and Disney fared better than their competitors, buoyed to some degree by interest in on-demand hubs Peacock and Hulu. Ad money moved to streaming video across the board, with buyers looking at ViacomCBS’ Pluto and Fox’s Tubi, and even setting aside dollars for the ad-supported version of WarnerMedia’s HBO Max, which one ad executive expects to see debut in early 2021.

Some advertisers gravitated toward Discovery, which has maintained original unscripted programming at outlets like Food Network while the rollout of new comedies and dramas have slowed. Discovery said the number of clients joining its “Discovery Premiere” offer, which puts clients in a package of 30 of its best-known series, increased during the upfront to 75 from 25.

Many networks are looking to better times. Several held back upfront inventory so it can be sold in TV’s so-called “scatter” market, when inventory is purchased closer to the date it airs and is often sold at a premium. Speaking to investors recently, Fox Corporation CEO Lachlan Murdoch said the company had probably held back 5% more commercial inventory than usual in hopes of getting better prices for it later in the cycle.

The networks will need that money.

Based on Variety’s estimate of a 10% to 15% cut in volume, NBCUniversal may have seen primetime commitments fall to between $2.68 billion and $2.84 billion, compared with $3.15 billion in 2019. ABC may have seen primetime commitments fall to between $1.66 billion and $2.18 billion, compared with between $1.95 billion and $2.42 billion a year ago. And CBS may have seen primetime commitments fall to between $2.03 billion and $2.51 billion, according to Variety estimates, compared with between $2.39 billion and $2.79 billion in 2019.

The smaller networks were affected as well. Fox may have seen primetime commitments fall to between $1.36 billion and $1.64 billion, according to Variety estimates, compared with between $1.6 billion and $1.82 billion in 2019. And the CW may have seen primetime commitments fall to between $440.8 million and $$597.1 million, according to Variety estimates, compared with between $592.7 million and $663.4 million a year earlier.

The moves wipe out some the volume gains the networks have made since a three-year stretch in the middle of the decade, when the TV companies had to muscle through tougher upfront sessions in the aftermath of a large recession. They have been helped in recent years by advertiser concerns about offensive content on YouTube and other social-media outlets as well as an inability to get independent consumer data from many digital players.

Last year, Madison Avenue rushed to TV as if Tony the Tiger and the Marlboro Man were still in their prime. As more Americans move to stream their TV favorites, media companies seem to have good reason to worry about how closely advertisers will follow them.

By Brian Steinberg

Sourced from Variety

By HANAA’ TAMEEZ  

Going into month eight of the coronavirus pandemic, we’re just beginning to understand the long-term impacts that the global event has had on news publishers and how they’re charting a sustainable path forward.

A new report at What’s New In Publishing, “The Publisher’s Guide to Navigating Covid-19,” looks at eight trends that have emerged globally, as well as strategies that publishers have implemented as a result of increased web traffic.

The report’s author, journalism professor Damian Radcliffe at the University of Oregon, notes that it’s difficult to make broad conclusions about Covid-19’s impact. The pandemic has forced some publications to lay off or furlough staff or shut down completely. Others publications, though, have been able to capitalize on increased reader attention and boost subscriptions.

Radcliffe looks at what we know now about the media industry so far, though even more could change in the United States as we inch closer to Election Day and watch President Donald Trump’s recovery from coronavirus. Here are some findings:

Smaller marketing budgets worldwide means advertising-dependent publications will have to pivot if they haven’t already. According to PwC’s Global Entertainment and Media Outlook report for 2020–2024, “global newspaper advertising (print and online) will fall from $49.2 billion in 2019 to $36 billion in 2024, a decline of more than a quarter (27%) over five years…[Alongside this] global circulation and subscriber revenue is expected to fall from $58.7 billion in 2019 to $50.4 billion in 2024,” Press Gazette reported in September.

People are spending a lot more time on their devices, but media consumption has fallen off after an initial surge. Smartphone usage is up 70%, laptop usage 47%, and tablet usage 23%, according to data from the Global Web Index’s Coronavirus Multi-Market study. For DataRePortal, Simon Kemp wrote, “many people say that they expect their new habits to continue after the Covid-19 outbreak passes too. One in five internet users say they expect to continue watching more content on streaming services, and one in seven (15%) say they expect to continue spending more time using social media.” All media, however, from internet surfing to TV watching, has declined since the initial surge in April. That means that news publishers have to get creative about gauging audience interest, and keeping it.

With more new readers, publishers are experimenting more with news products. At the beginning of March, we noticed that publishers were quick to launch coronavirus pop-up newsletters and drop their paywalls on pandemic stories. According to members of WAN-IFRA’s Global Media Trends Panel, more than half of the editorial executives they surveyed had launched new products as a result of the pandemic, Radcliffe writes. “Newsletters are the most common product, with some 55% saying they have launched them, followed by infographics (49%), and videos and live blogs (30%).”

Covid-19 has helped boost subscription numbers for a range of publishers. With advertising revenue down, publishers have leaned into reader revenue and membership programs to fill the gap. More and more publishers are explaining to readers why their journalism should be paid for and they’re doing so on various platforms, including YouTube and Facebook. Some success stories Radcliffe notes are:

  • The New York Times now has more than 6.5 million subscribers (print and digital), adding 669,000 digital subscribers in the second quarter of 2020. In March, nytimes.com had 240 million unique visitors and 2.5 billion pageviews, up from 101 million uniques in January.
  • CNBC’s website hit 1 billion page views for the first time in March 2020, more than doubling traffic from February. Subscriptions to CNBC Pro, a premium product costing $29.99 a month or $299.99 a year, were up 189% since January 2020.
  • Tribune Publishing experienced a 293% increase in new digital subscriptions between March and February 2020. This included an increased conversion rate, from users hitting the paywall, of 109%.

Radcliffe also looks at audience engagement strategies, building loyalty among readers, and the ways that publishers have tried to be more accommodating to advertising. Read the full report here.

By HANAA’ TAMEEZ  

Sourced from NiemanLab

By Thomas Glare.

Description: Despite the constant traffic in social media, some businesses still think they are better off not using this amazing and largely low-cost resource for advertisement. We have a few reasons why they might want to reconsider that opinion.

Introduction: Social media platforms are everywhere. If you have a smartphone and Wi-Fi, you have access to everyone you know and everyone they know every second of the day. And, while using it to reconnect with old friends is a pretty solid way to utilize such a versatile medium, it can also be a great resource for marketing.

These days, it seems like everyone has social media accounts. From toddlers to grandparents, Facebook, Twitter, and Instagram have kept us connected, for better or worse, and allowed us to know everything about everyone. It is even possible to win real money by clicking on an ad or doing a social media quiz.

Marketing in the Age of Social Media

In the past, ad traffic was expensive and could only come from television, radio, and newspapers. Promos run maybe once an hour to as little as once a week, and the target audience was only listeners, watchers, or subscribers. And advertisers hoped their target market was tuned at just the right time, but it was essentially a gamble.

These days, social media advertising has almost overtaken all other forms of marketing. As a matter of fact, when a marketing firm lists their services, if the phrase “social media campaign” isn’t mentioned, a lot of businesses will move on. It isn’t the niche market of ten years ago, but a living, breathing animal of its own.

Your Next Marketing Strategy

White pages do work, and emails are still a heavy hitter in the marketing game. But if you want to get the most eyes on your product or service, you can’t beat the endless traffic of the big three. These social media networks have made a killing based on this knowledge. So, why shouldn’t you?

Here’s how:

1.    Ready and Waiting

Your customers are on social media. You want to connect with them. So, like AT&T used to say, “Reach out and touch someone.” They are waiting for you to tell them what you have to offer. Don’t leave them in suspense.

2.    Branding

You aren’t just a business but a brand. And your brand is the face of your company. People recognize big brands because they stand out, and there is something special about them. Get your brand out there and introduce yourself!

3.    Improving Relationships

Online reviews have replaced comment cards, and access to business owners has become commonplace. Using social media to stay connected with your customers is the best way to know whether your business is doing well, and what to do to fix it if something is wrong. Instantly.

4.    A Wider Net

Any social media manager will tell you not to aim at small but launch a large campaign to draw big attention. As far as social media plans go, this is a valid idea. You may inspire new business just because you took a chance on an untapped market for your niche.

5.    Low Money Down

Let’s say you are a casino. Your business is to bring in people with money to spend. But how? Free coupons! You put a free coupon for slots free spins on Twitter, and the traffic flows into your site. And you paid next to nothing for it. Social media marketing is the most cost-effective medium for product promotion.

img alt: social media marketing

6.    Competition

Everyone has a business out in the world that is trying to take your customers and your dollars. And guess what? They already have a website and tons of followers, subscribers, and valued customers. They aren’t taking your business; you are giving it to them by not having a social media strategy.

7.    Loyalty

People like to know who they are buying from. A bad social media brand can kill a business, just because of the owner’s improprieties. But if your customers are aware of your story, and it garners trust and makes you seem like a quality human-being, they instinctively want to support you.

8.    Drawing a Bullseye

While you can throw out a huge campaign that blankets the entirety of social media, you can also target specific people, catering to your most fervent customer base only. It is similar to fishing with a bait that only certain fish like. Sure, you will get some outsider nibbles, but you will hook what you came for.

9.    Up the Ladder

Along with knowledge of SEO, traffic algorithms have a hand in search engine rankings. The more people visit you, the higher you are on the list when customers search for your business. Typically, the average web surfer will pick one of the top five links when looking for just about anything.

10.Reaching and Grasping

Just like the Internet is global, so is social media. And that means you can now advertise all over the world from one or more platforms with ease and speed. Customers in Estonia can buy your product, receive it, and give you feedback in a matter of days, not months like in the past. It has connected the commerce of the world.

Conclusion

Social media management may seem a little odd to those with old school marketing ideas, and that makes sense. So many advertising fads have come and gone, it can be puzzling if getting an account for your business might just end up as a waste of time. But the upshot is that advertising on platforms like Facebook, Twitter, and Instagram are so quick and easy that you’re actually wasting more time trying to come up with reasons not to.  Do you advertise your business on social media? Has it helped your bottom line and customer traffic?

By Thomas Glare

Thomas Glare runs a marketing firm and believes in the power of advertising through social media platforms. He recognizes it as a vital tool in promotional mediums and uses it on a regular basis for his clients to promote his own business interests.

By Lukas Garnelis and Robertas Lisickis

When you think food advertising can’t get any better than it is now, someone finds a way to one-up the competition. It does raise the question of whether there is a point in advertising a thing we can’t live without, but I digress.

McDonald’s has come out with an advert—a street billboard—in the streets of Paris that has been drawing people’s attention lately with its unconventional public ad design.

Have you ever gotten so hungry that you’ve had the idea to take a bite out of a billboard?

Image credits: TBWA PARIS

So, McDonald’s—you know, that ginormous fast-food chain whose food people can’t help but crave every once in a while and effectively don’t need to be persuaded to want to eat it—has come out with an ingenious billboard design that has people captivated.

McDonald’s has placed 3 lit street billboards around the city of Paris, France with pictures of two kinds of their signature hamburgers and a carton of french fries. Except they aren’t regular rectangular billboards that many of us are used to, but rather rectangles that someone has taken a literal bite out of.

An ad agency recently took that concept and made it into a McDonnald’s billboard that is literally bitten off

Image credits: TBWA PARIS

Image credits: TBWA PARIS

The entire design does have a silly vibe to it because the bite mark is just comically out there—who would try to take an over-sized bite out of a billboard picturing food? But, at the same time, it’s very on-point and the strangeness of it all manages to draw the eyes of passersby—exactly what an ad should be doing.

People with a keen eye will also notice that the billboards lack any branding. Besides the carton of french fries being packaged in the obvious red and yellow packaging that McDonald’s offers, there is no mention of it being McDonald’s. For all intents and purposes, this could be an ad for any other fast-food restaurant.

3 “bitten-off” billboards were placed in Paris, France that feature McD’s juicy pics of burgers and fries

Image credits: TBWA PARIS

Image credits: TBWA PARIS

But a supplementary video showcasing these same billboards clarifies that it is indeed McDonald’s—the classic golden arches appear right after the cartoony frames of the two burgers and french fry logos at the end of the video.

The people behind the billboards are TBWAParis, an advertising agency headquartered in New York City but with a presence all around the world, including Paris. It aims to bring a culture of innovation and to put companies’ brands at the heart of pop culture.

TBWA Paris is the team behind the billboards and they’ve been working with McDonald’s since 1985

Image credits: TBWA PARIS

Image credits: TBWA PARIS

The agency has been working together with McDonald’s in Paris for a while now—since 1985, actually. Their projects with McD’s include ad campaigns for the Sharing Box, “Being A Good Father,” and “American Summer,” among many others.

Now, this isn’t the first time someone has taken a bite out of a tasty food ad as Ben and Jerry’s also realized the same concept for an ad some time ago. The ad for B&J’s Pint Slices has been seen bitten off in Auckland, New Zealand. The Phantom Labs team are the people behind this one.

Interestingly enough, none of these ads feature any of McDonald’s branding, save for its colors with the fries

Image credits: TBWA PARIS

Image credits: TBWA PARIS

Image credits: TBWA PARIS

Watch the video advert showcasing the bitten-off McDonald’s billboards found in Paris

Video credits: TBWA PARIS

By Lukas Garnelis and Robertas Lisickis

Sourced from boredpanda

By 

n the last few years, podcasts have exploded – but you don’t need anyone to tell you that. Every man, his dog, and his competitor have launched a podcast recently, and it’s hard to know where to start.

Podcasting keeps making the headlines, too. Joe Rogan went viral when he signed an exclusive deal with Spotify, and the streaming platform doubled down when they also signed Michelle Obama. In fact, journalists actually listen to more and more podcasts now to source quotes from people for their stories, quotes that are out in the public domain. And to make the case for B2B, one statistic found that there are avid fans of business podcasts in a massive 13 million households.

Podcasts are ideal for brand awareness and managing your personal brand, in an on-the-go, busy lifestyle. How do you get yours noticed in a landscape where the top 0.1% most popular ones reign and the market becomes more saturated every day?

You don’t need to create your own show to thrive in podcast land

People, and brands, launch podcasts on social media almost daily.

While this should be rewarded, people only have so many hours a day to listen to podcasts and don’t always have time for new ones. Plus, you need a lot of spare cash for ads and need to be ready to make a big commitment, having people lined up ready to guest each week.

If you’re starting out, you should dip your toes into the water first. Podcasts are fantastic for small and medium-sized businesses and their executives to grow awareness. By taking part in podcasts and guesting on existing shows, you’ll get:

1. Free advertising/brand awareness

2. Likely a 15-30 second slot to plug yourself

3. To promote yourself as a thought leader

4. See how other people run podcasts, for future reference in case you set up your own later

5. An opportunity to network and connect with key influencers.

How do I become a guest on podcasts?

There’s so many of them out there, it can be easy to become a deer in headlights at the vast number of podcasts available, but it doesn’t need to be scary.

If you start your own podcast, you need to grow it from scratch, develop a long-term content strategy, and invest a lot of time and money. But if you start by guesting on others – they’ve already done the hard work for you!

Research relevant podcasts by searching key terms

As of January this year, there were more than 850,000 active podcasts. The easiest way to filter down to find podcasts that are right for you to be on, to get in front of your audience is by searching for the key terms on your podcast app of choice.

For instance, if you search ‘SaaS’ on Apple, Google, Acast, Spotify etc, it’ll show the shows which mention SaaS in previous episodes, or their titles. Search for your job title, or for your audience base. For example, if your core offering is smart pay solutions, you can search for:

  • Smart pay
  • Finance
  • Young people + money
  • Retail

There’s also nothing wrong with just searching for top podcasts in your industry on Google, too – but some of these lists may be outdated, and the devil moves quickly, but podcasts move quicker.

Look at their relevance, not popularity

With almost a million podcasts, it’s impossible for them all to have high listening figures – there’s only so many hours in a day. Many should look at the reviews and ratings on the podcast to see how popular it is.

But Megaphone collected data on the US iTunes store which found that 80% of podcasts have no rating listed. Think about podcasts in the same situation as a microwave – who actually leaves ratings? Usually it’s those who think it’s the best microwave they have ever bought and it’s life-changing, or those who actively hate it. The millions of people who bought the microwave and think it’s good won’t leave a review. The same can be applied to podcasts.

You don’t need to guest on a podcast with 100,000 weekly listeners. All you need to do is make sure that they’re relevant. Don’t feel like you can’t ask the host or organiser who their target audience is, just to be sure, as they’ll have more of that data than you will be able to see.

If you do want to see what Joe Public has to say about the podcast, you’ll have a better chance by searching the name of it on Twitter and LinkedIn, where people tend to post about things they enjoy that are relevant to them and to others in their industry. At Hallam, we noticed that The Goat Agency’s podcast, The 30,000ft View, was being spoken about a lot on Twitter, and so pitched Susan Hallam MBE in to speak on one of their next episodes – which they said yes to.

Identify your niche talking point

You want to be seen as the expert, and that won’t happen if you’re just repeating what everyone else is saying.

What can you tell their listeners that someone else can’t? Think of it like a speaking slot – what’s your podcast USP? To identify what your brand, and your people can talk about, answer the following questions which might help you to identify your key talking points:

Do you have any major thoughts or controversial opinions on recent news in your industry?

What are you doing about consumer behaviour changes? Can you offer your thoughts on this?

Everyone’s favourite phrase – digital transformation. What are you doing to cater to it in your industry?

Do you have any major company hacks that you can share which have helped you to become more productive/successful/happier?

Are there any new regulations you can comment on?

What do you see people doing all the time that is wrong or you don’t agree with?

Any cool customer data you can share?

Securing the spot

Search on Twitter. Set up an alert on ‘IfThisThenThat’ which will help you to get alerted every time someone includes the word ‘podcast’ with the hashtag #JournoRequest or #PRRequest. This will save you scanning thousands of tweets a day.

Once you know which podcasts you want to go on, reach out to them and ask. They’ll likely have a website with their contact information, or it will be on their social media. Explain why you like their podcast, and what you can offer to their audience.

Connect with podcast hosts on Twitter and LinkedIn, and follow them on Instagram and Twitter. If you start to interact with them and build up a relationship organically, you’ll likely be ahead of the pack when it comes to securing that coveted spot. Kieran S-Lawler, Head of Content and Social Media at Hallam, was being vocal on LinkedIn, and his connections at Pitch Consultants noticed him. As a result, they invited him onto their podcast.

Thought Leadership 2.0

We all want to be thought leaders, and get in front of our audience. Adding value to a podcast will have people searching for you and your brand after, and one guest appearance can easily turn into ten. Once people hear you on one relevant podcast, they might invite you on theirs.

Guesting on podcasts will allow you to broaden your brand and reach out and build your reputation on the topic in your industry, whether it’s digital marketing, SaaS, hair and beauty, or finance.

It will also help you to increase your exposure and develop personal relationships, There may be an opportunity, should you eventually launch your own podcast, to invite them onto yours – with their raised following, you’re more likely to get a higher number of listeners.

Feature Image: Hallam comment on the growth of business podcasts and suggest that now might be the time to get in front of new listeners.

By .

Rebecca Peel is senior PR and content consultant at Hallam.

Sourced from The Drum

By 

Does marketing have the power to change the world? The year 2020 has forced us all to redress the net result of the industrial revolution, which spurred mass consumption and throw-away consumerism. So, can our industry – with the abundance of talent, skill and creativity- champion for a better future for all?

The Drum and Facebook have partnered to bring together teams from brands and agencies across the globe to provide some answers to this very challenging question. The idea is to get together experts from the industry to find solutions to business and societal challenges to help create value for the people and the communities it impacts.

The creative brief

Uniting three markets under the theme of ‘stakeholder capitalism’ – with attention to inclusion and diversity – three separate teams in North America, EMEA and APAC were put together to answer the brief that involves a rethink of how small-to-medium size enterprises (SMEs) that are run by minorities operate, and how as an industry we can help create more resilient businesses especially in these unprecedented times.

Each of the three regions were given three separate briefs – The US (North America) team’s brief is to focus on women run SMEs. So how to overcome systemic social and financial challenges while starting and sustaining female-led businesses? Do they need to approach entrepreneurship differently?

For the London, UK (EMEA) team the theme was immigrant-led small business. Are immigrant-owned businesses the untapped potential? What are the challenges and opportunities of migrant founders and their businesses?

The theme for the APAC team is silver start-ups. A growing number of over-65s are now delaying retirement by starting their own firm, fueling a ‘grey business’ boom. What are their challenges, can we identify the most pertinent ones and solve those problems?

The first meet-up

Each of the teams kicked off their first virtual brainstorm session to find a campaign solution that would positively impact the lives of minority groups operating in the SME market. Each of the teams were also given mentors to help guide through the process.

Following is the list of the three teams:

Team US

  • Tom Spaven, brand director, Bombay Sapphire, North America (mentor)
  • Stephanie Walker, innovation marketing manager, Pepsico
  • Cassie Begalle, strategy and innovation brand Manager – U by Kotex, Kimberly-Clark
  • Iyanni Callender, junior art director, Strawberry Frog
  • Paola Ortega, associate strategy director, DDB Chicago
  • Michael Rodriguez, content strategist, 3 Leches Creative

Team UK

  • Arjoon Bose, marketing head- culture & brand experience (Europe-Australasia), General Mills (mentor)
  • Andre Campbell, partnerships lead, Mercedes-Benz
  • Fatima Diez, head of marketing, MunchFit
  • Shannie Mears, co-founder & talent chief, The Elephant Room
  • Jade Nodinot, former creative associate, BlackBook London
  • Emma Luxton, former senior account executive, Avantgarde London

Team APAC

  • Erica Kerner, SVP, marketing strategy & partnerships, ONE Championship (mentor)
  • Triveni Rajagopal, global digital director, skin cleansing and BPC, Unilever
  • Chandini Malla, senior manager, Diageo
  • Bryan Martin, social media executive, Reprise Digital
  • Adrianne Pan, planner, Havas Singapore

Team US: A fact-finding mission

Gender equality is at risk of being set back decades in the current climate – not just minorities in general, but especially women in it. In the US, the focus is on women-owned SMEs, looking at how female-led businesses can overcome systemic social and financial challenges, as well as addressing the different approaches that this cohort might have to entrepreneurship in order to succeed.

One such challenge was posed by keynote speaker Victoria Monsul Singolda, owner and creative director of Iris & Virgil, who discussed that though it might be true that for women-led businesses, their vulnerabilities as women and as small business owners are compounded, there needs to be a gender-smart approach because not all women-led businesses are the same.

“I never really thought of myself as a female business owner, I’m just a business owner. Maybe because my mother was very dominant in the household, she was a student, she was a business owner, she was a mum, we always saw her, we were always together. Maybe that’s why I never thought that there was something different or special being a girl.”

Headed up by mentor Tom Spaven from Bombay Sapphire, the team immediately honed into “resilience” and “impact” as the insights towards this gender-smart approach.

The team delved into discussions to align on common goals and objectives. The first step was to focus on the challenges in order to find the most creative solution – with three key take-aways that these women are lacking: Knowledge and resources to tap into; a community to help them venture into this new world; and platforms available to really share and have people learn more about.

The team then decided that the initial insight-led approach would begin with a fact-finding mission to assess the situation and the scale of the problem that the campaign needed to solve; followed by the consumer insight to understand the deep motivations and needs of the target to ultimately give the barrier they need to start to push against in order to solve the problem; and finally, culture listening around this topic – all of which would help to get a clear, sharpened brief about the real problem they are trying to solve.

Team EMEA: Move from ‘pivot to evolve’

On the other side of the Atlantic, Team EMEA, led by mentor Arjoon Bose from General Mills, tackled the untapped potential of ethnic minority and immigrant-owned founders, their challenges and opportunities.

“The last few months have been testing and I think we’ve all come up with a ton of learning. But I think we’re at that stage right now where we’re needing to move from pivot to evolve,” said Bose. “A growth mindset is what we’re going to have to need as we come out of this and prepare to get stronger and accelerate.”

After hearing from keynote speakers Sharon Jandu, director, Yorkshire Asian Business Association and director, Northern Asian Power List; and Steph Douglas, founder, Don’t Buy Her Flowers, it was clear that a heavy emphasis on networking, relationships and experiences, along with access to digital technologies, were key in bringing this community together.

“For an SME, they are so busy doing what they do that they don’t have the time or the capacity to think about what they can do – or they don’t have the networks to enable them to get the contacts to get investments or to get ideas. They are constantly running on a treadmill, trying to do and keep what they are doing alive. How can we stop them becoming so absorbed in their business that they can actually distance themselves and look at it from an aerial perspective?” asked Jandu.

The team identified the need to listen and learn directly from migrant-led business owners themselves to understand their experience, their struggles and challenges with direct feedback through focus groups and on-the-ground research. This would allow them to narrow down into one or two sectors that need the drive and support. They identified Facebook’s own small business community as a great place to start to create a questionnaire in order to gain invaluable insights to help shape their strategy.

“The opportunity that digital gives us to connect these immigrant-owned businesses with each other and provide each other with their own experience and their own knowledge can be a very valuable thing that we could leverage if it’s relevant to their challenge,” said Fatima Diez.

Team APAC: Reinventing and re-energising culture

With a growing number of over 65s now delaying retirement and fuelling a ‘grey business’ boom, the focus for Team APAC was on overcoming the challenges faced by the silver start-ups, particularly when it comes to navigating through the coronavirus pandemic.

Mentored by Erica Kerner from ONE Championship, the team was presented with a keynote talk by Jeremy Nguee, founder, Preparazzi Gourmet Catering; Batu Lesung Spice Company; who helped his mother set up Mrs. Kueh, a local sweet treat business. They touched upon some of the unique experiences and challenges of their business that they ran from home.

Hoping to learn from this experience and translate these lessons to help support silver entrepreneurs and home-based businesses through his volunteering role in the Hawkers United Facebook community, Nguee said: “I think this is going to be a very, very big market. There are a lot more home-based businesses coming up because of high unemployment in the market.”

Inspired by the talk, the team decided to focus on Singapore food culture and food service industry run by silver entrepreneurs, that has an international dimension throughout much of its history but continues to retain features firmly rooted in the locality so that the global and local are not always distinct. The team wanted to understand the different segments of businesses and the landscape in which they were working in.

“The complexities of Asia, the complexities of the segment, the types of digital, could become such a beast,” says Kerner. “My instinct is to start with the data. Starting a business now, no matter what your age is a challenge and a lot of small businesses are obviously struggling to survive. We’ve got a lot of things to think about. What aspect of this do we want to try to unbuckle?” asked Kerner. “In Singapore we are losing a lot of that Hawker culture and if we can find a way to re energise it, and bring more people back into it, it’s good for all of Singapore culture.”

The next steps

Over the upcoming weeks, the teams will continue to work on their campaign and then subsequently present the big idea for solving that problem.

The final ideas will be entered in The Drum Social Purpose Awards.

The Drum consulting editor, Sonoo Singh, said: I’m inspired to see the true power of marketing when used to promote issues that are critical to our societies, persuade a change in behaviours, and influence a positive shift in behavior that would benefit our environment. Having been involved with all the teams, I cannot wait to see the final outcome of this very challenging brief.”

By 

Sourced from The Drum

Sourced from CNA

REUTERS: A long list of companies have pulled advertising from Facebook Inc in support of a campaign that called out the social media giant for not doing enough to stop hate speech on its platforms.

The Stop Hate for Profit campaign was started by several US civil rights groups after the death of African-American George Floyd in police custody triggered widespread protests against racial discrimination in the United States.

Following are some of the companies that have decided to support the campaign:

Starbucks Corp

The US coffee chain said it would pause advertising on all social media platforms while it continues discussions internally, with media partners and civil rights organisations.

Unilever Plc

The consumer goods company said it will stop advertising on Facebook, Instagram and Twitter in the United States for the rest of the year, citing “divisiveness and hate speech during this polarised election period in the US.”

Adidas AG

The German sportswear giant said it and subsidiary Reebok will pause advertising on Facebook and Instagram globally throughout July.

Walt Disney Co

The media company will slash its advertising spending on Facebook, the Wall Street Journal reported, adding that the time frame for the pullback was not clear as some brands paused their ad spending for longer stretches.

Coca-Cola Co

The beverage maker will pause paid advertising on all social media platforms globally for at least 30 days, Chief Executive Officer James Quincey said in a statement.

Merck & Co

The drug maker said it was stopping ads on Facebook and Instagram and was monitoring the actions Facebook takes.

Target Corp

The retailer said it was pausing all ads on Facebook and Instagram throughout July and was re-evaluating its plans for the rest of the year.

Ford Motor Co

The No 2 US automaker said it would pause advertising on all social media platforms in the United States for 30 days, adding that it would evaluate such spending in other regions as well.

HP Inc

The computer maker said it was stopping US advertising on Facebook until the platform puts more robust safeguards in place against objectionable content. It added that it was reviewing its social media strategy across all markets and platforms.

Lululemon Athletica Inc

The yogawear maker said it would pause paid advertising on Facebook and Instagram.

Levi Strauss & Co

The denim maker said it and subsidiary Dockers would pause all ads on Facebook and Instagram, calling on the social media company to take actions to stop misinformation and hate speech.

Beiersdorf AG

The Nivea cream maker said it was pausing ads for all its brands on Facebook and Instagram throughout July.

Chipotle Mexican Grill Inc

Chipotle said it was temporarily pausing paid advertising on Facebook and Instagram starting Jul 1.

Diageo Plc

The world’s largest spirits maker will pause all paid advertising globally on major social media platforms from Jul 1.

Clorox Co

The bleach maker said it will stop advertising spending with Facebook through December.

Verizon Communications Inc

he telecom operator said it was pausing advertising until Facebook creates “an acceptable solution that makes us comfortable”.

The North Face

The outdoor brand, a unit of VF Corp, said it would pull out of all Facebook-owned platforms.

Ben & Jerry’s

The ice-cream maker said it would pause all paid advertising on Facebook and Instagram in the United States as of Jul 1

Magnolia Pictures

The film distributor and studio became the first Hollywood company to join the movement. The company said in a tweet it would stop advertising on Facebook and Instagram, starting immediately, through at least the end of July.

Patagonia

The outdoor apparel brand said it would pull all ads on Facebook and Instagram through at least the end of July.

Source: Reuters/ec

Feature Image Credit: REUTERS/Dado Ruvic/Illustration/File Photo

Sourced from CNA

Sourced from B&T Magazine.

Nicola Moras (main photo) is an online visibility expert and author of Into The Spotlight, a guide to help you step up your online visibility, become a rock star in your industry and make your business thrive. In this guest post, Moras takes a look at the pros and cons of paid social media advertising…

To the uninitiated social media advertising can have the allure like that of the holy grail to Indiana Jones. Whilst the adventure may not be quite the same, put a foot wrong and BOOM! You end up falling into the abyss of closed ad accounts, pages shut down and worse – you could lose all the equity you’ve spent time building up on your pages.

I’ve heard the cries time and time again: “Social media advertising doesn’t work” and “We did an ads campaign and we got nothing from it”. The fact of the matter is this: most people who try to advertise on social media fail dismally – not because the advertising doesn’t work, but because the strategy they’re using quite frankly, sucks.

It’s tough to know what to do. We’ve all heard the success stories from using social media advertising, so why does success seem so elusive? We’re badgered by the platforms to ‘Boost to reach more people’ and to ‘advertise to reach more people’. There’s the prompts that tell you that ‘this post is getting more engagement than usual. Boost to reach even more’. Phew. No wonder everyone’s confused. Throw into the mix the adverts managers, the placements, the targeting, the creative options and what platform to choose.

Overwhelmed yet? You’re in good company. The good news is that there is a simple way to navigate it to ensure that should you choose to spend your hard earned dollars on advertising on social media, you’re going to get a return. (Otherwise don’t do it!)

1. When should you pay to advertise?

There is a golden rule to advertising on social media and that is this: Only advertise when you are generating leads and or sales. Generating a lead means obtaining a name and email address from someone. You can then stay in contact with them through your email marketing. A lead is not a ‘like’ or a ‘follow’.

The only other instance that you should pay to advertise on social media is if you are wanting to actively promote something that you are selling. For instance your event, product, program or a service.

If you are not wanting to do either of the above, then you should not be paying for advertising!

2. Why would you?

Facebook is the best social media advertising platform available to us right now. The platform has the biggest volume of users sitting at 2.45Billion monthly active users. Half of those are active daily and on mobile devices. You have the most targetable audience online sitting there in Facebook daily. Your people are on Facebook. It doesn’t matter what you’re offering, what you’re selling, what business you’re in. Your people ARE on Facebook. They may well not be on there using it the way you are. They may be using it to stay in touch with

their families, check up on what their children are doing. They may even be using it for work.

When people are on social media, their guards are down and they are more likely to be inspired by your content, your marketing and your advertising than on any other medium available to us right now.

3. But how do you do it?

Firstly, you have to know who your audience is and you need to identify a problem of theirs that you can solve. You will create something of value that you can give to them for free in exchange for their name and email address. You’ll then email it to them! (All of this should be automated, by the way!).

When you know who they are and the free item (digital ideally) you’re going to give to them, it’s time to head into the Ads Manager. Do not ‘boost’ a post from your page. You always want to use the Ads Manager facility within the platform. You can test, measure and fine tune within the ads manager. It’s very difficult to do it should you choose to create an ads campaign any other way.

From there, you’ll choose your audience targeting (you can be very specific), your creative and hit SUBMIT! Test and measure for a short period of time. A couple of days should be enough to see the leads starting to flow.

Social media advertising is the best it’s ever been…when you have the right strategy behind you.

Sourced from B&T Magazine

By Brad Adgate.

After several years, advertisers, content providers, ad tech companies and program distributors have been busy laying the groundwork for dynamically inserted television advertising. Addressable TV allows advertisers to deliver more targeted ads to individual households via cable, satellite or telco set top boxes or web-enhanced “smart” TVs.

The potential for addressable TV advertising could be big. Mitch Oscar, the director of advanced TV strategy for USIM says currently, there are about 54 million MVPD (cable, telco or satellite) households that are linear addressable and 35 million that are ad supported video-on-demand addressable households. As a result, Oscar estimates there are 66 million unduplicated addressable TV households. In addition, Mitch Oscar also notes there are also about 25 million homes with web enhanced TV sets currently capable of receiving addressable TV advertising via automated content recognition (ACR). Some of these homes however, may also be an MVPD subscriber.

Using addressable advertising, an automotive ad can promote a different car model to different households. A politician can insert a different campaign issue to different voters or a prominent packaged goods marketer can advertise different products to different households.

Addressable advertising could give the TV ad industry a much-needed revenue boost. In the first six months of 2020 another 3.8 million homes cancelled their cable TV subscription, resulting in a loss of subscriber fee revenue into the hundreds of millions of dollars. Moreover, the ratings for many top tier entertainment networks have been in decline, as viewers migrate to content from streaming video providers. The loss of audiences has also impacted ad revenue, especially during a recession.

In recent years, annual TV ad spend has been stagnant at around $70 billion. Some industry analysts project ad spend for addressable TV advertising could grow from $1 billion in 2017 to over $5 billion by 2021. The cost of an addressable TV ad would be greater than a typical linear ad, with the idea being a more relevant ad message would elicit a more emotional response to an engaged viewer, resulting with an increase of sales. A study from Bill Harvey Consulting found addressable TV advertising has a higher return-on investment than either digital media or linear television.

In the past, addressable ads were limited to the local two minutes each MVPD sells every hour. These MVPDs use their own set top box tuning data, first party data from an advertiser (or third-party data from Experian and Acxiom), as well as other technology to send targeted ads based on zip codes, cable zones or even down to individual households. The amount of addressable advertising inventory will increase notably as national networks, which sell about 14 to 15 minutes of commercials every hour, get more involved.

There are two industry trials currently taking place in the smart TV universe; Project OAR and Nielsen’s Advanced Video Advertising.

Project OAR: One initiative in addressable TV advertising is Project OAR (standing for Open Addressable Ready) which was created in March 2019. The goal of OAR is to set standards for addressable TV advertising using an open source. OAR is a consortium started by TV manufacturer Vizio and includes many prominent content providers; Disney Media Networks, NBCUniversal, CBS, WarnerMedia’s Turner, Hearst Television, Scripps and AMC Networks. These programmers account for 80% of all linear TV viewership.

Inscape, a data-tracking company owned by Vizio, developed OAR’s technology using ACR. In June 2020, OAR began the first phase a live test which provides more relevant ad messages for both linear and on-demand on smart TV’s. Participating were Fox, ViacomCBS, NBCUniversal, Scripps, and AMC Networks. A second phase is scheduled for mid-August 2020 and will include Disney Media Networks, Discovery, Hearst Television and WarnerMedia.

Project OAR is available on 10 to 13 million web-enhanced Vizio TV’s. One of the goals, is to build scale by allowing more partners into the consortium with hopes they will be available on all “smart” TV’s. This will require the participation of TV manufacturers Samsung, LG and Sony. Also, as part of the OAR consortium are TV ad delivery companies; Comcast’s FreeWheel, AT&T’s Xandr, Google Ad Manager and Invidi that are implementing technical integrations.

Nielsen Advanced Video Advertising: In February 2019 Nielsen launched AVA, focusing on addressable advertising for web enhanced TV sets. The announcement had come after Nielsen acquired addressable TV technology provider Sorenson Media, which was in bankruptcy protection. Nielsen integrated Sorenson with ACR technology from Gracenote and Qterics, a smart TV software and privacy management company, to accelerate their addressable TV initiative.

AVA will be using 15 million smart TV sets from LG Electronics. The addressable initiative has the participation of nine national content providers; A&E Networks, AMC, Discovery, Disney, Fox, NBCUniversal, Univision, ViacomCBS and WarnerMedia. They account for about 90% of all linear viewership. Nielsen had launched a two-phased beta version in January which has been extended until the end of 2020 due to the pandemic. Mitch Oscar notes, as a long-time ratings supplier, Nielsen may be serving ads and verifying the impressions, instead of using a third-party, this could be an issue for advertisers.

On Addressability: In June 2019, Comcast, in partnership with Charter and Cox, formed On Addressability, an addressable consortium with a goal to develop industry definitions and standards, provide education for advertisers, and identify best practices and business standards for transacting on addressable campaigns. Also, the three cable operators hope to pool what they learned from offering addressable advertising to help other content distributors do the same. In June 2020, AMC Networks became the first content partner followed by Discovery in late July. Canoe Ventures provides the backend ad tech support. Collectively, the three cable operators have about 27 million addressable ready TV homes.

Measurement Challenges: With several trials taking place there are several industry issues facing addressable advertising such as inventory maintenance, revenue sharing and privacy. Another issue is audience measurement. Prasad Joglekarthe SVP & General Manager TV, cross platform products at Comscore says, “Addressable TV occupies somewhat of a middle ground between traditional linear TV and digital video advertising. Today, most addressable TV advertising is viewed as an evolution of TV. As such, the default measurement lens that gets applied is the traditional TV lens, which ratings and panel based. This leads to 3 significant measurement issues that various industry players are sorting out:

First, the things that make addressable TV interesting – the ‘breaking’ of the live spot, the delivery of multiple advertisements within the same unit etc. – are precisely the things that make it impossible to measure with a panel, or as a traditional age-gender rating. Trying to shove what is inherently an impression-based buy into a spot-based measurement scheme doesn’t work.

Second, for national addressability, a 30-second unit must be individually enabled in 3 to 5 different operator and distribution platforms. Each operator’s addressable insertion, pacing and reporting stack is unique. It is a hard and laborious process to measure each platform individually, and then combine the numbers to create a true national view.

Third, when an ad is made addressable, some impressions are targeted, but the vast majority are not. On average, ~30% of the impressions in a spot will be targeted. The impressions not targeted are seen as suspect or remnant and tend to be devalued. Decorating those impressions with useful, actionable audience attributes, across the 3 to 5 operators described above, is a measurement and planning problem that must be solved.”

As the industry continues to test addressable advertising and develop standards, Mitch Oscar agrees that similar to digital media, the currency for addressable advertising should be audience based, instead of ratings based, that has been the traditional measurement for linear TV for decades.

Feature Image Credit: GETTY IMAGES

By Brad Adgate

Brad Adgate is an Independent Media Consultant

Sourced from Forbes