Results tagged “Interactive Advertising Bureau” from IABlog
Now that buyers and sellers have become more familiar with cookie-replacement technologies, and many are choosing to create their own proprietary solutions, a larger business and process discussion about audience engagement and the usage of audience data has emerged. Where the need was previously to understand the available technology choices, now many in the market are focused on gaining clarity around the new techniques, and best practices, for use and control of audience data in this developing cross-platform landscape. Including, but not limited to, the use of audience identifiers - the IAB’s Data Council will be home to continued discussions and guidance for how we can all be good data stewards. This will undoubtedly include timely issues such as data quality, protection, control and using data to inform an overall digital strategy.
- Jordan Mitchell, VP Product, Rubicon
- Amy Kuznicki, Associate Director, Verizon
- Susan Pierce, Engineering Manager, Google
- Matt Tengler, SVP Product, Millennial Media
- Phillip Smolin, SVP Market Solutions, TURN
Belinda J. Smith
Belinda J. Smith is Senior Manager of the Mobile Marketing Center of Excellence at the Interactive Advertising Bureau.
Kristina Sruoginis is the Research Director at IAB.
- Programmatic is more than RTB. There is a lot of confusion over the term programmatic, which many people mistakenly believe is only real-time bidding (RTB) or used only for remnant inventory. Ultimately programmatic is the process of buying and selling media in an automated fashion. This includes four main types of transactions - open auctions, invitation-only/private auctions, unreserved fixed rate/preferred deals, and automated guaranteed/programmatic guaranteed deals. Every time someone says the word “programmatic” make sure you ask what exactly they mean. Watch this Digital Simplified video that explains how one part of programmatic, RTB, works step by step.
- Lots of challenges still exist to enable programmatic to work. Concerns that were addressed throughout the event included transparency, fraud, and trust; limited understanding and knowledge; confusion over terminology; moving from direct response to branding dollars, moving from mostly standard banners to native, video, rising stars, and audio ad formats; internal organizational challenges for brands and publishers; and delivering different creative through programmatic.
- Programmatic is big and getting bigger. The programmatic market (including auction, and direct deals) is expected to top $10B in 2014 and grow to $20B by 2016. For now, RTB remains the dominant part of programmatic spending (92% in 2014), but is expected to fall to under 60% of total programmatic spend by 2016 as programmatic direct increases. Within RTB, open auctions account for 88% of total RTB spend, though this is changing with private marketplaces growing significantly faster. While display is still dominant for now, mobile and video programmatic are growing fast.
- Fraud and trust are big issues, but are being tackled by the industry. Bots and fraud have become a big issue mainly due to the large sums of money involved. The IAB and the industry are building a trust stack to tackle fraud, malware, piracy, and transparency and include these in a joint cross-industry accountability program) building on the existing Quality Assurance Guidelines. Advertisers and buyers should make sure they know their supply sources, choose their vendors carefully, and always remember “If it’s too good to be true, it probably is!” Publishers need to ensure they are coordinating between sales, marketing, operations, and analytics to identify any strange traffic patterns and remember if they are doing audience extension they need to apply the same controls as buyers should.
- Publishers can hit a home run with programmatic video. The concern that programmatic has been perceived as a “race to the bottom” for rates and yield has not been the case in video due to restricted supply. Publishers can use programmatic to fund the creation of quality video content particularly by helping to monetize traffic spikes. Ultimately efficiency doesn’t have to mean lower CPMs; it can also mean more effective engagement.
- Measurement matters even more in a programmatic world. Brand marketers are looking for transparency, inventory quality, and technology simplicity. Buyers should ensure they are reaching the right audience, use a consistent, comparable metric to plan, buy, and sell audiences, use brand data to ensure advertising resonates, and ultimately ensure that the campaign drives the desired action.
- Attribution is essential to effective programmatic spend. Last touch attribution is outdated and is like giving all the credit in a relay race to the last runner. Attribution models should incorporate the “first site visit” separating the funnel into prospecting and retargeting, and set the right incentives to each part.
- Brands in automotive are leveraging programmatic. Leading brands are looking beyond the simple retargeting of ads and embracing programmatic across the consumer path to purchase from unaware to loyal purchasers. The agency automation “stack” includes four layers - unified data platform, open access to media inventory, single metrics regime, and dynamic ad creation/production/serving platform. Brands are finally learning from programmatic media to employ new tactics in automated creative—not creating by machines, but optimizing ad variables based on real-time, impression level data.
- Publishers need to re-org to capture the value of programmatic. Publishers are adopting programmatic as a core part of their monetization strategy. However, this can pose internal challenges. The top five ways to build a successful programmatic publisher organization were the following: align incentives and compensation; educate direct sellers and have them attend Programmatic 101 training; programmatic team to focus on supporting direct sales (agencies) and covering programmatic buying entities (DSPs, trading desks, retargeters); establish a programmatic rate card; and have internal and external quarterly budget reviews.
- Creativity and programmatic are not enemies. Every ad should be dynamic and leverage the same audience signals used in programmatic media buying to make the creative relevant. This can be done by infusing first or third-party data on demographics, location, and previous website behavior to alter the headline call to action, image, or assets of the ad unit to ensure the message resonates with the user. Doing this can double yield on interaction rates and increase engagement by 50%.
- Analyze the content ecosystem - from sites of interest and user relationships desired to metrics and questions of attribution, the process involves homework.
- Celebrate fans (with contests, repurposing content) and explore different types of compensation.
- Identify other sites where users engage with your brand and “trend” there.
- Set internal goals (KPIs) and promote user engagement.
- Learn how to engineer content - leveraging UGC in real time is key, as is knowing when to sit out the content storm.
About the Author
Susan Borst is the Director, Industry Initiatives at the IAB focusing on Social Media, B2B, Games, Content Marketing and Native Advertising.
She can be reached on Twitter @susanborst
Reporting by Eric Schaal, IAB Editorial
- Marketers are playing catch-up. Whatever the state of mobile itself in a given country, in every market it feels like consumers lead the way, media companies are doing their best to follow, and agencies and brands, on average, tend to lag a bit, puzzled by mobile or unsure how to respond to the shift of the digital audience to phones and tablets.
- Location gets people excited. Regardless of the phase or state of mobile adoption, location is the universal unique selling point of mobile. It’s the thing that piques marketers’ interest, and first sparks creative thinking about mobile’s possibilities as a distinct medium.
- Video is coming up fast. Many participating IABs also cited video as a major mobile opportunity. This makes perfect sense, since video content is abundant and, assuming networks can handle it, an attractive content type for mobile consumers.
- Improving creative is our common task. In terms of industry challenges, better ad formats was very common, and clearly a place where the global network of IABs needs to focus our efforts over the next 12 months. Building future-proof mobile creative is a huge challenge, but collaboratively the IABs are poised to meet this challenge in the coming year.
Joe Laszlo is Senior Director, Mobile Marketing Center of Excellence, at the IAB.
A Conversation with Nick Law, Global Chief Creative Officer, R/GA, and IAB MIXX Awards Judge
This past May at the What Works & Why in Digital Advertising: Insights from the IAB MIXX Awards event, Nick Law described his thinking on the alchemy needed in today’s digital world to achieve creative success. Although he took just five minutes to lay out his thesis, it crystallized for me the answer to a question I had been furiously pondering over the past four years: what is the right creative model to achieve the level of brilliance in the digital world that marketers have come to expect of the best agencies in the analog one? I wasn’t the only one who found his thinking revelatory; I saw dozens of pens busily scribbling during his short talk.
While Nick was at the IAB Ad Lab in New York to judge the 2014 IAB MIXX Awards, I asked him for a chat about this notion so we could share his thoughts with the industry. Our conversation is captured below and in the accompanying video.
Peter Minnium (PM), IAB: R/GA has a unique model of deploying talent in teams to get the best results; can you tell us the genesis of this thinking?
Nick Law (NL), R/GA: About a decade ago, I looked at the creative skill sets that we had at what was then a very different R/GA, and it occurred to me that if you were to be brutal in your division of skill sets, you would cleave the world into storytelling and systematic thinking. The important point about this realization, as much as understanding that these two ways of thinking exist, was to recognize that are both creative ways of thinking. So if you’re from Madison Avenue, over the last 50 years, what has been considered creative is storytelling, because the mediums that we’ve used are narrative mediums. And since the advent of digital, this type of architectural and spatial way of thinking has become very important. In the advertising world, I think the problem is that this hasn’t been considered creative. It’s been relegated to a sort of an executional or technical path.
So when people talk about the “big idea” in advertising, they still really refer to the ability to tell a story and to distill a brand down to a little narrative. And when they think about this sort of interactive, they think about it from a technical point of view. So then, having come up with the big idea, they wonder how to push that down into this new set of formats and channels. But what I realized was that the sort of creativity associated with systematic thinking was very powerful and very different.
PM: Why is the distinction between the different skills sets important?
NL: This is an important thing to recognize, because if you don’t recognize the difference between storytelling and systematic thinking as sort of categorically different ways of thinking, then creators—because they’re all vain and because there’s this sort of hubris associated with creative people—will say that because they’re creative, they should be doing it all, right? So I would have an instance where someone who grew up designing interfaces and was a systematic thinker couldn’t wait to get over to the content studio and do a film, even though for 10 years, that wasn’t the way they thought. And vice-versa. I think that early on in this sort of emergent digital world, there were many creative executions that came from an art director/copywriter type of narrative team, which in a systematic world, failed dismally, right? I won’t mention any big platforms, but there’s quite a few. And a lot of money was wasted.
PM: Are people born Systemic or Narrative Thinkers?
NL: So if you look at a human brain—and I sort of found out later that we don’t know a lot about neuroscience—we do know that the left-hand brain processes things sequentially and that the right-hand brain processes things simultaneously. So it’s this play between time and space, between the temporal way of thinking and the spatial way of thinking. Therefore, it stands to reason that if you’ve been doing something and you’ve gotten good at something from a creative point of view, the paths in your brain are in a very specific place. So for me, that explains why it’s very difficult for a narrative thinker to connect and design a systematic piece of work, and vice versa because they’re in a habit.
PM: Bill Bernbach revolutionized creative teams in the 1960’s by pairing art directors and copywriters. Is the model different now?
NL: So at R/GA at least, we think that the atomic team is not an art director and a copywriter, but rather a storyteller and a systematic thinker. Another way of looking at this is as a tension. Storytelling is the act of simplifying, because it’s about the revealed moment and good storytelling, good brand storytelling, is really about that distilled moment and how it’s revealed. And there’s this tension between that simplicity and the possibility provided by systematic thinking. So systematic thinkers are good, very good at possibility because they understand how each node plays with each other and can look at all these relationships simultaneously and generate many ideas.
So when you have a systematic thinker and a narrative thinker, you get this lovely tension between simplicity and possibility. When that is absent, when all you have is simplicity, you just have simple brand storytellers, really just a lucid brand but without innovation. And when you just have systematic thinkers’ input of possibility, then you get really interesting and multiple tactics that don’t ladder up to a simple brand idea. So that’s how I can tell whether or not we have the balance right—whether things are simple but not innovative, or innovative but not lucid. That balance becomes very important, that interplay. This doesn’t mean that underneath that organizing principle, we don’t have all sorts of different combinations: art directors, copywriters, data scientists, and strategists, and all sorts of other combinations, but that’s the sort of balance we’re trying to achieve, between storytelling and systematic thinking.
PM: Thanks, Nick; I now better understand the magic behind the award winning work at R/GA.
To learn more about creativity in digital advertising download the IAB MIXX Awards 2013 Insights Report: What Works & Why, which showcases examples of award winning digital advertising campaigns and the genius behind the creative work from thought leaders across the industry.
About the Author
As the Head of Brand Initiatives at IAB, Peter Minnium leads a series of initiatives designed to address the under-representation of creative brand advertising online. He can be reached on Twitter @PeterMinnium.
- Transparency is key, but as an industry we need to define - what does it mean to be truly transparent in the programmatic space?
- Now that programmatic technologies are in place, let’s find ways to implement more engaging and interactive creative in real time
- Now that people are getting more comfortable with letting technology do the heavy lifting, we can begin to take advantage of programmatic efficiencies
About the Author
Alison Pepper is Senior Director of Public Policy, Interactive Advertising Bureau.
 Source: FairVote, The Center for Voting and Democracy, www.fairvote.org
 Source: FairVote, The Center for Voting and Democracy, www.fairvote.org
Julie Van Ullen
Julie Van Ullen is the Vice President of Member Services at the Interactive Advertising Bureau. Julie oversees a number of IAB’s elite Committees and Councils, charged with putting industry best practices and thought leadership into the marketplace. Those focal areas include Native, Programmatic, Digital Video, Advanced TV, Digital Audio, Social Media, Games and more.
From the Winter Olympics to a fantastic World Cup, it’s already been a great year for sports around the world. And as the summer baseball season unfolds in the US, the IAB Mobile Center and InMobi have collaborated to publish a look at how US consumers use their smartphones to plan and purchase tickets to sporting events.
This report completes a trilogy of studies examining mobile and ticketing. Previously we looked at mobile and movies and mobile and live theater and music performances. Like those event categories, sports benefits greatly from the ease and convenience of the mobile internet.
Among the key findings from the sports research:
- 85% of mobile sports fans turn to mobile after seeing ads for entertainment events on other channels.
- 49% of mobile sports fans say they find information about entertainment activities via mobile, making that channel more important than PC and print for entertainment information.
- 78% of mobile sports fans use their mobiles to help plan trips to watch live sporting events.
- Sports fans use their devices during games to record videos and watch replays.
- 1 out of 3 mobile sports fans purchases game tickets directly through their phones or tablets. Box office, online and mobile are now all major sources of ticket sales.
Like mobile consumers generally, mobile sports fans gravitate toward ads that combine fun and relevance. Sports marketers seeking to make mobile an MVP on their media team should remember that 36% of this group prefer ads that showcase video, sound, and photos; 33% like deals or other promotions; 28% like pre-sale ticket opportunities; and 27% like ads that feature their favorite sports team.
It’s hard to imagine a category of marketer that’s a more natural fit for mobile than entertainment ticketing. Whether it’s a spontaneous movie night, the game of the year, or the concert of a lifetime, mobile has the immediacy and relevance to help a fan learn what’s going on, act on that, and share the experience with friends and the world. We hope these three studies help open marketers’ eyes to the value that mobile brings to the world of event ticketing, and look forward to seeing even tighter and better integration of mobile into sports, music, theater, event, and movie marketing.
Joe Laszlo is Senior Director, Mobile Marketing Center of Excellence, at the IAB.
Kristina Sruoginis is the Research Director at IAB.
We are at war. The industry is under siege from organized criminals who proliferate malware to steal individuals’ sensitive information, turn consumers’ devices into bots that generate billions of fraudulent ad impressions and clicks, and who pirate valuable content—all for their own financial gain.
We are also at war with ourselves. We have created an overly complex and porous supply chain that is obfuscated from the very marketers we hope to sell to. And, we have not shown the necessary vision and commitment to effectively fight back.
Without trust between marketers, publishers, consumers, and the multitude of parties in between, the growth of our industry—and by extension all of the monumental innovations our industry supports—is indefinitely debilitated. As IAB President and CEO Randall Rothenberg said in a powerful call-to-action earlier this year, we need an industry-wide behavior change at an unprecedented scale.
IAB is uniquely positioned to lead this charge. Our members have driven the advancements that created this complex supply chain and can propel the progress that will lift us out of this morass. Success, however, will require all of you. Only with the help and dedication of the entire advertising community will we be able to instill confidence in consumers, security in content creators, and better understanding in marketers.
To accomplish this ambitious and essential goal, the IAB is launching a Trustworthy Digital Supply Chain Initiative, comprised of 5 distinct objectives:
- Eliminate Fraudulent Traffic
- Combat Malware
- Fight Internet Piracy
- Promote Brand Safety through greater Transparency
- Create Accountability
Here is the roadmap for accomplishing each objective:
Eliminate Fraudulent Traffic
No economic model in which a significant percentage of the goods sold are fraudulent is sustainable. We must identify bot-generated, non-human traffic and remove it from the supply chain. The first step is to develop a common taxonomy so the entire ecosystem can speak the same language when talking about “transacting in only human traffic”. Second, we must have a set of principles, operational and technical in nature, that help guide sellers of inventory in the identification and filtering of fraudulent activity. Lastly, there needs to be better communication across the industry on known threat vectors and cutting edge solutions.
IAB is currently leading the Traffic of Good Intent Task Force, which earlier this year scoped the cause and nature of this problem and produced a set of definitions. This group will soon expand upon that product with the release of new principles that establish best practices for fraud detection and set institutional limits on selling that inventory. Following this work, the group will focus on adoption and accountability across the entire industry.
Eliminating fraudulent traffic and combatting malware are two sides of the same coin. Malware is the malicious software downloaded onto consumers’ devices as they browse the web, download apps, or click on an infected link or advertisement. By decreasing the proliferation of malware the industry will create a safer, more enjoyable experience for consumers, and will help thwart the creation of botnets, which in turn create fraudulent traffic.
To organize industry’s efforts on this front, IAB is establishing a new Malware Task Force within the Trustworthy Digital Supply Chain Initiative. This group will create a set of high-level security principles to help companies detect malware attacks on their sites, as well as to help define technological baselines for companies to deploy against criminal activity. Malware attacks are constantly evolving, thus this group will also serve as an information sharing platform in which one company can share the latest intelligence on malware threats with other companies. IAB will also form a partnership with law enforcement agencies to help them more effectively investigate and prosecute criminal activity. Finally, the industry must work to plug the most commonly exploited security hole, which is outdated software on individuals’ devices. We must educate consumers about these security risks and encourage them to update their browsers, operating systems, and other software.
Fight Internet Piracy
Advertising revenue should never flow to criminals who steal copyrighted material and place it on “pirate” sites. IAB and many of its members have already made strides toward this imperative through the Quality Assurance Guidelines, which include the prohibition of the sale of advertising on sites dedicated to copyright infringement. While many networks and exchanges already devote a great deal of time and resources to detecting this illegal activity, more must be done. IAB is participating in a cross-industry effort to standardize best practices and piracy detection technologies, thus making it easier for companies to double down on their existing efforts. In addition, the Quality Assurance Guidelines program recently established a complaint system, whereby rights holders can notify networks and exchanges about potential pirate sites. However, the process must be simpler, detection more accurate, and participation ubiquitous. And finally, marketers and agencies must build upon their own commitment to not purchase inventory on pirate sites by including this language in their contracts for every advertising campaign.
Promote Brand Safety through Increased Transparency
There is no easy way to say it, but too many marketers and agencies do not fully understand the inner workings of the digital advertising supply chain. The path an ad travels today, from insertion order to the screens of a target group of consumers, is a labyrinthine and far too opaque to the buyer. As Rothenberg said in his article, “Even if you know that your own suppliers are reliable, you can’t tell whether your suppliers’ suppliers are secure.” Unchecked, this lack of transparency deters brand spending in our ecosystem. To build openness, understanding and trust, sellers must continue to grow the transparency provisions contained within the Quality Assurance Guidelines—particularly in light of the rise of programmatic—and evolve the compliance program so that it governs every transaction flowing through the trusted supply chain.
Transparency is one of the foundational goals of the Quality Assurance Guidelines. As its mission states, the Quality Assurance Guidelines aim to provide “clear, common language that describes characteristics of advertising inventory and transactions across the advertising value chain.” Already 29 top digital companies are certified under the program, with many additional leaders en route. We must continue to build out participation and increase awareness of the program amongst marketers and agencies.
Principles and guidelines are only effective when you have industry-wide adoption and compliance. This kind of accountability ensures each participant can rely on the multitude of other actors in the supply chain to do the right thing. Without it, trust erodes.
We have the building blocks of an industry wide compliance program in the current IAB Quality Assurance Guidelines. To build this out to ensure a trustworthy digital supply chain, it must be expanded to cover areas such as fraud and malware and to additional areas as they arise. The compliance mechanism must be strengthened to include active monitoring systems and serious consequences for non-compliance. Last but not least, ALL actors in the digital advertising supply chain, from marketers and agencies to ad technology intermediaries and publishers, need to certify against the parts of the guidelines that are relevant to their business model. Advertisers then must request, demand if you will, this seal of approval from those with which they buy. Only then will we have an accountability program that truly becomes the “Good Housekeeping seal of approval,” meaningfully signifying who to trust in the digital ad supply chain.
These five discrete objectives compose a roadmap toward a more trustworthy digital supply chain, one that will increase the entire industry’s value and worth. They will be discussed in more depth at the Advertising Technology: IAB Marketplace event happening today in New York. However, it should be said, there is no such thing as a completely trustworthy supply chain. Most of our efforts are directed at fighting criminal activity, and it’s impossible to stamp out all crime. But we can implement successful programs that make it difficult for the criminals to be successful. That’s what we are doing today and we need your help to achieve our goals.
Mike Zaneis is SVP & General Counsel at the IAB.
- How can VPAID and MRAID best be used together?
- While MRAID was developed for in-app experiences, what about browser-based apps?
- Should SafeFrame be the sole solution for browser-based experiences?
Joe Laszlo is Senior Director, Mobile Marketing Center of Excellence, at the IAB.
If you are familiar with the story of the Tower of Babel, you’re aware of the potential power behind a commonly understood language. When everyone accepts definitions in the same way, the chance of confusion is eliminated and time can be spent more efficiently in progressing forward rather than having to consistently translate various interpretations. Digital Video In-Stream Metrics serve this exact purpose for buyers and sellers of digital video in-stream advertising, and have played an important role in maturing the industry and supporting its evolution.
Digital video is a fast moving marketing channel undergoing a large amount of innovation and technical functionality, so the industry will need to periodically review and revise standards to reflect the needs of current practice. The last update to the metrics was in 2008, so IAB convened a working group to modernize the metrics but we found during comment periods that there were some prevailing questions that we chose to address outside of the document.
We hosted the webinar, Digital Video Metrics Modernized to provide an overview of the document and addressed those questions, and as an added layer of clarity we have outlined them in an FAQ. Ultimately, our goal is to enable growth in the industry. We do this by building and maintaining consensus around the use of these metrics and concepts so that buyers understand sellers and transparency is established.
FAQ Digital Video In-Stream Metric Definitions
Why not combine the metric definitions with the Impression Measurement Guidelines?
IAB Impression Measurement Guidelines, which have been developed for display, mobile and digital video, describe technical details for how an ad impression should be counted in each of the specified contexts. Each of the Impression Measurement Guidelines documents is used in the industry to establish sound measurement practices for ad impressions.
In contrast, the Digital Video In-Stream Metric Definition document, simply describe a baseline of interactive metrics that companies can voluntarily track in digital video. No technical guidelines are imposed for how each metric is measured, allowing companies make the best use of their technology while offering the Industry a common definition for select interactive digital video metrics.
Why isn’t viewability covered in the update to metric definitions for digital in-stream video?
Viewability in digital video is a more complex issue than simply defining a term. The 2014 Digital In-Stream Video Metric Definitions only defines a baseline set of interactive metrics that the industry can use as a common lexicon. However, establishing common measurement practices for determining whether an ad is in view requires a process that identifies and addresses technical and operational challenges. The Make Measurements Make Sense (3MS) initiative is leading the efforts toward more effective impression measurements. As a standard becomes adopted in the industry, these metric definitions may be updated to reflect relevant changes.
We serve video ads into 300x250 placements on websites. Why is this being excluded from the definition for digital video in-stream video ads?
The format of an ad does not make it a digital video in-stream video ad; the context into which the ad is served defines digital in-stream video ads. The technology for receiving and executing ads is different and requires different resources when the ad is served into a webpage and when served into a video player. Video ads that are served into a webpage are commonly known as in-banner video ads and are executed by the browser. Separately, ads served into a player are received and executed by the player—each of which may be built using proprietary code. Therefore, only ads served to a player (video or otherwise), constitute a digital in-stream video ad.
What constitutes a “player?”
In the context of digital in-stream video, a player is a browser-based computer program that executes videos, animation, or games that streams publisher content.
One advertising strategy we use is to stream short clips of content along with ads into a display placement on a publisher’s webpage. Our ads are played before, during, or after the content we serve, and they’re served into a player. Are our ads considered digital in-stream video ads?
If the content being streamed belongs to the same publisher that also owns the webpage content into which you are serving the clips and ads, then yes. For example, a news publisher may post several short news clips in the sidebar of their page. Ads served into these news clips are considered digital in-stream video ads.
However, if the content belongs to publishers other than the one who owns the page content, and especially if that content is served to a display ad placement on the page, the content is a form of advertising. In this case, the content, as well as the ads served with it, are being served to the webpage and classified as in-page, or in-banner video ads.
Is mobile covered in this metric definition update?
Ads served into browser-based players that stream publisher content are considered digital in-stream ads, regardless of the device in which they play. However, mobile devices present some challenges to tracking ad interactions. Native players in mobile devices are capable of playing content while offline and therefore lack the persistent connection required for communicating ad interactions in real time. For now, the 2014 Digital In-Stream Video Metric Definitions are restricted to the context of live streaming content. However, to the extent possible, these metric definitions may be applied to native digital players in mobile.
Are the ads we serve into games considered digital in-stream video ads?
Yes, game publishers may sell ad inventory that is served into their browser-based game players. Ads served into these players are considered digital in-stream video ads.
Jessica Anderson is Senior Manager of Advertising Technology at IAB.
In this, the final installment of the IABlog series, “IAB Asks NewFront Sellers,” NewFront founders and presenters share what excites them the most with regard to digital video content, advertising, and the NewFronts. Here’s what they had to say:
Ben Dietz, VP Sales & Business Development, VICE Media
We’re excited about the IAB Rising Stars, in terms of their ability to incorporate video into certain units. We think longer-form video is going to continue to be a mode that people adopt. A quarter of all videos on YouTube right now are 20 minutes or longer. So there’s a huge appetite and a huge shift in the desire to consume longer pieces of content. Ads can probably get longer and less “selly” as a result.
Jack Bamberger, Head of Agency and Industry Relations, AOL
People should attend AOL’s NewFront on April 29th and they’ll find out. We’ve got some surprises ad exciting announcements that we’ll be unveiling at the NewFront separate from our slate. Last year we were very bold in measurement, very bold in original content, and there’s no reason to expect anything but a continuation of AOL investing more in video. A great example is our acquisition from September of last year Adap.TV and what does that mean to the industry in terms of programmatic video.
Jonathan Perelman, GM of Video & VP Agency Strategy, BuzzFeed
It’s about highlighting ways that brands can do really compelling, sharable, video content. That to me is not pre-roll or TrueView ads, but it’s actually custom, bespoke, branded videos that tap into learnings and understandings about what makes video successful and doing that with brands. That’s what I’m really excited about and what we at BuzzFeed have been doing and are really excited to do a lot more of.
Peter Naylor, SVP Advertising, Hulu
As content consumption continues to be a multi-screen experience, we will see more ad formats with the ability to run across different platforms. On Hulu, we see over 3,000 multi-platform combinations used to watch Hulu Plus each month. For example, I watch Hulu Plus on an iPhone, iPad and my PC. I find that stat to be highly illustrative of the direction consumers are headed. And we can’t just follow where consumers are going, we have to always lead and be one step ahead. So, the ability to run ads across different platforms is a big trend. Another big trend - geo targeting, and ads that are targeted to local viewers.
The Hulu Upfront will take place April 30th in New York, and we’re excited to talk about how we are staying ahead of industry trends and innovating in the space on behalf of our advertising partners, content partners and users. I don’t want to give away too much (you’ll have to wait for the upfront!) but we’ll be sharing some new ways we can help advertisers reach their target audience through innovative new formats, alongside great new programming on our platform.
Jason Krebs, Head of Sales, and Erin McPherson, Chief Content Officer, Maker Studios
Krebs: Everything we’ve touched on [for this Q&A] are trends, because they’re very early. Either it’s Erin fielding different calls from new creators in Hollywood, traditional again, who’ve never done anything online. We have advertisers also asking us about potential new ways that we can take our creators and get them involved in their story. How are things happening socially? Are people sharing these? What are the view times? What are their browsing habits? Are they stumbling upon content? Are they tuning in? We have the whole subscription notion of YouYube. Many of the biggest subscribed channels in YouTube across the earth are Maker creators, and what does that mean? What’s a publishing cycle look? How often should we be producing this content? Where are people coming from when they’ve come to that content? Where do they go after? All of these things. We haven’t said the word data yet, so now I’m saying the word data. All those points are completely brand new. The trend of using all of that so everyone is better at what they do, advertisers and creators and consumers, it’s all early on and very exciting.
McPherson: For a while now native has been a buzzword. People use that word loosely and broadly. We certainly use it when we’re talking about advertising that is truly organic to the consumer. Native content can be a creative idea that we work on with a brand. Native can also encompass a kind of ad that we’re in the early days of seeing in video. I’ll call it a smart ad, a targeted ad, an ad that understands what consumers’ behavior and interests are. We’re in the early days with video in personalization, really being able to customize not just your video content, but your video ad experience.
About the 2014 Digital Content NewFronts
Each year, thousands of people attend the Digital Content NewFronts to witness great new original video content, learn marketing best practices, and hear headline-grabbing announcements about partnerships that will change the course of the digital medium. This powerful series of presentations proves that digital video is the right place for brands to engage with consumers because consumers are engaging with digital video. Presenters include AOL, DigitasLBi, Google/YouTube, Hulu, Microsoft, Yahoo, and more. Learn More & See Schedule
IAB Cross-Screen Marketplace, Spotlight: Video, May 15, 2014
If you’re interested in digital video, IAB is bringing together thought leaders from both brands and agencies for the IAB Cross-Screen Marketplace. We’ll reveal how the buy and sell side are partnering to develop, deploy, and evaluate the success of multi-screen/multi-channel content and brand experiences, and the increasingly powerful role video is playing in this revolution. Learn More & See Agenda