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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 revelatoryNL2.jpg; 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
peter-minnium-headshot.jpgPeter Minnium 

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.

The IAB is only as strong as its members. 

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Each month IAB selects a member company who has demonstrated both exceptional leader and learner roles due to their elevated participation in IAB activities. Member participation in our initiatives not only empowers committees & councils to create industry-wide accepted specifications, guidelines and best practices, but also gives member companies and individuals the opportunity to have their voice heard and receive visibility for their efforts. 

This month we spoke with Tremor Video, who has taken advantage of Town Hall speaking opportunities, Webinar attendance, Digital Content NewFronts, Quality Assurance Guidelines and much more. 


What does your company do, and specifically how does it serve the digital ecosystem?
At Tremor Video we’re transforming the video advertising experience across all screens for our clients. In a nutshell, we are a tech company that really understands brand advertising for video.

We’ve developed a technology platform, VideoHub®, which offers advertisers and publishers a complete programmatic solution to reach and engage consumers while providing new insights into what drives brand performance across screens.

We operate a complete digital ad tech stack for video, meaning we offer solutions for both advertisers and publishers, ranging from ad serving, to buying & selling inventory, to analytics.

The digital ecosystem has evolved to a point where a screen-specific approach is not the most effective way for marketers to reach their target audiences, so we’re helping them reach consumers in a screen-agnostic world.  


What initiatives is Tremor Video looking forward to working with the IAB and its member companies on; and how do you motivate your colleagues to get involved?
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Tim Ware, Head of Mobile/CTV Sales, Tremor Video
We work closely with the IAB to develop guidelines around a number of initiatives, including quality assurance, measurement and innovative new ad units.

As the head of mobile and CTV sales, I’m most looking forward to elevating the importance of mobile creative to showcase how effective mobile video advertising is as consumption continues to grow, particularly in tablets for 2015. I’m also looking forward to teaming with the IAB to work with affiliated industry groups like MRC as we develop Advanced TV measurement and best practices. Advanced TV combines the best of digital and TV advertising capabilities and we’re at an exciting time where over 83M US consumers are watching content on them.

Motivating my colleagues to get involved with the IAB isn’t hard because everyone fully understands the value and insights one can gain from participating. The IAB offers so many different options to get involved at any level and time commitment. Tremor Video holds seats on a number of committees and councils as well. 

 
How have you leveraged a leadership role at IAB over the past year and what was your take-away from the experience?
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Doron Wesly, Head of Market Strategy, Tremor Video
I love to tell stories, especially when I can weave in data nuggets to remind marketers that “consumers” are people just like them. We spend so much time looking at demographics and target audiences, but I like to be the person that gets everyone to take a step back see the big picture. 

Speaking at the IAB at events like the IAB NewFront Lunch, Future of the App Town Hall and upcoming IAB Mixx give me the opportunity to show people what I’ve learned from being on the road and talking to real consumers. 

Seeing the crowd nod their heads and scribble down notes reminds me how important market research is, and the IAB is a wonderful platform to share those learnings.
  
 

How did you participate as a learner at IAB over the past year and what was your take-away from the experience?
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Lisa Tanzosh, Sales Strategy, Buy-Side Platforms, Enterprise
I attended a number of events this past year, including “Using Data & Programmatic to Go Global and Build Brands” which focused on different perspectives and opinions from panelists working in all corners of the industry (agency, publishers, data, platform, etc.). The viewpoints discussed left me with three important takeaways:
    • 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
As Tremor Video continues to improve its programmatic offering, it’s helpful to participate in IAB events that elevate the programmatic conversation and allow publishers, advertisers, and agencies to dig into important industry topics. 




About the Author

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Nicole Horsford

Nicole Horsford is the Member Services Director at IAB.



Mobile advertising sometimes feels like that old cliché about the weather: everyone complains about it but no one ever does anything about it. There are many paths to improving mobile ads:  encouraging better creative canvases (like the IAB Mobile Rising Stars), as well as tools to make it easier to build cool things to go on those canvases (like the MRAID), or guidance to creative designers on using tools that already exist (like our work on HTML5).

But it’s also incredibly important to listen to consumers. While sometimes that conversation feels very one-note (“I hate all ads everywhere”) most people do realize that ads are why they get so many of their digital content and services for free, and so would rather see good ads than bad ones. That’s why the IAB Mobile Center was excited to partner with Meredith Xcelerated Marketing (MXM), to tap into Meredith’s “Real Women Talking®” community on some questions about what they like, and dislike, about mobile ads.  

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The results speak to striking a balance—perhaps one that the mobile industry hasn’t quite mastered yet—between being too obtrusive and being too ignorable, and being relevant without being creepy. We found that context is critical - from placement to creative messaging. The best mobile advertising is relevant placement, simple creative and engages on her terms. That is, a successful mobile ad must fit into the context of a busy, mobile life.

With mobile advertising, it’s easier to miss the mark than to hit it. Women in Meredith’s Real Women Talking®” community told us that “I often miss the ads when they pop up on my phone” - too unobtrusive—but also that “Ads that take up the whole screen [are] really bad and would leave me with a negative impression of the company” -too obtrusive. This suggests a need for a better banner—something bigger than a 320x50 but smaller than a 300x250. It also underscores the potential of in-feed ads, which are hard to overlook even as they scroll with the content.

Based on the conversations with the women in its community and the mobile ad examples they shared, MXM proposes five core principles for mobile advertising aimed at its audience (and consumers more generally):

  1. Get noticed: 320x50 banners don’t do enough to get her attention.
  2. Don’t force it: Forced ad engagements, for example with time consuming auto-play video ads, leave a negative impression.  Don’t let frustration trump the ad’s message.
  3. Relevance, relevance, relevance: Be relevant not just to her, but to what she’s doing at that moment.
  4. It’s all about her: Get to know her. Be relevant, and she’ll be much more likely to take notice.
  5. Keep it simple: An unclear message will be perceived as spam she’ll ignore them. Be simple, direct, and succinct.

“These principles are just the beginning”, says Britta Cleveland, SVP of research who leads Meredith’s Real Women Talking® community, “our goal is to continue to listen to the feedback - good and bad - and continue to do something about it!”
I couldn’t agree more. A more detailed summary of what the Meredith’s Real Women Talking® Community had to say about mobile ads can be found here

About the Author

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Joe Laszlo

Joe Laszlo is Senior Director, Mobile Marketing Center of Excellence, at the IAB.

 


Big Data Empowerment: Promoting Civic Engagement

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The following post is the first in a series examining how the use of commercial data and innovative data analytics techniques are being used to empower individuals in a variety of ways. 
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It’s not exactly a closely-guarded secret that voter turnout in the United States has a tendency to lag well-behind other established democracies. While it’s probably not fair to compare U.S. turnout with countries that mandate voting (a fine is a pretty effective way to encourage participation), the U.S. still trails behind comparable non-compulsory voting countries such as Austria, Sweden and Italy that experience turnout rates near 80%.[1] In the U.S., about 60% of the eligible population votes during presidential election years, and about 40% vote in midterm elections.[2] When presented with global images of long lines in Kandahar and the Sudan, where citizens risk limb and possibly life to participate in the most basic of civil rights, the U.S. turnout rates can dull the senses of even the sunniest of optimists.

In November 2008 President-elect Barack Obama swept into office on the tide of the highest voter turnout rate since 1976. Obama and his staff were credited with running one of the savviest campaigns to date that fully-utilized the internet as a means of reaching out to potential voters with the right message at the right time in the right place. The campaign was widely-credited with not only harnessing the power of newly-emerging social media platforms, but also with becoming one of the first campaigns to realize the potential of leveraging the use of commercial data to help ensure that possible voters were seeing messages that mattered to them, and more importantly, messages that could inspire them to take action and participate in the civic process. Since 2008, political parties of all shapes and sizes have been exploring the judicious use of commercial data to get newly-engaged voters to the polls. 

With the 2008 election being historic for many reasons, it’s easy to lose sight of an often overlooked, yet fascinating development - that when used appropriately, the marriage of commercial data and relevant messaging can lead to an uptick in citizens exercising that most basic of civil rights, voting. 

About the Author

Alison Pepper

Alison Pepper

Alison Pepper is Senior Director of Public Policy, Interactive Advertising Bureau.



[1] Source: FairVote, The Center for Voting and Democracy, www.fairvote.org

[2] Source: FairVote, The Center for Voting and Democracy, www.fairvote.org

In the wake of revelations regarding U.S. intelligence programs, the European Union is calling for a revised U.S.-EU Safe Harbor Framework that could increase the compliance burden for IAB members.

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According to European data protection law, companies are not allowed to transfer consumer data outside of the EU unless there is a guarantee that the data will receive an “adequate” level of protection, as determined by the European Commission. In 2000, the EU found the Safe Harbor Framework proposed by the U.S., a voluntary self-certification program that requires participants to publicly adhere to principles such as notice, choice, access, and enforcement, satisfied the “adequacy” requirement of European law. 

Since then, the Safe Harbor Framework has provided more than 3,000 businesses, including a significant share from the digital advertising industry, a means to transfer data across the Atlantic in a streamlined and cost-effective manner that ensures consumer protection. The Framework accomplishes this by offering U.S. companies an efficient compliance process, and European companies and consumers an easily accessible list of compliant participants.

This Framework has been a major success for businesses of all sizes and types, and has allowed for borderless innovation and job creation. Today, the combined U.S./EU digital advertising marketplace represents $92 billion in annual revenue, nearly 70% of the global industry. In the U.S. more than 300 Safe Harbor certified companies use the Framework to conduct advertising services. From a recent poll of IAB member companies, an even higher percentage of our members participate in the program, thereby allowing them to efficiently build an international digital supply chain. 

Despite its many successes, critics of the program argue that recent revelations of the scale of U.S. surveillance activities necessitate a strengthened Framework. In response, last November the European Commission proposed 13 recommendations to “restore trust in data flows between the EU and the U.S.”

The stated goals of the EU’s recommendations are to increase transparency, create a more active enforcement and auditing process, limit the scope of U.S. authorities’ access to EU data, and improve dispute resolution processes. Several of these recommendations reinforce the original Framework without creating unnecessary burden on businesses. Other recommendations, such as requiring companies to publish the privacy provisions of their contracts with subcontractors and notify the U.S. Department of Commerce of onward transfers of personal data under the Safe Harbor Framework, are not workable for industry and provide no additional protections for consumers.

The IAB Public Policy Office is working to ensure that the updated Framework takes into account the digital advertising industry’s perspectives. Our industry represents a significant share of the U.S. and EU economies, allowing us to provide meaningful insights into the impact changes to the Framework will have on digital advertising and the economy at large. We are also coordinating our research and messaging internationally through the IAB global network of 26 European-based IABs to more fully capture the impact any changes to the Safe Harbor Framework will have on the transatlantic trading relationship and the international business community. Our advocacy is taking place on both sides of the Atlantic, which is the only way we can effectively negotiate an acceptable solution.

The U.S. and EU negotiators have expressed interest in finding solutions to the EU’s recommendations by this summer. As negotiations progress we will continue to push for a workable Framework that allows for the free flow of data between the World’s two largest digital marketplaces. For more information please contact Alex Propes at [email protected].

About the Author

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Alex Propes

Alex Propes is Senior Manager, Public Policy, at the IAB.

TV in the Digital Age

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Perhaps the thing I love most about the digital advertising industry is the continuous evolution and emergence of new trends and sectors to develop and discover. The latest area to pique the interest of IAB members, and also top agencies like Zenith and Maxus, is Connected Device Advertising. We’ve all cast our bet on this being one of the next needle movers and many are heavily investing. From an IAB perspective, we know what it takes to create an efficient, smooth value chain - and that’s a sound set of standards, forums for innovation, and industry-wide education. With our soon-to-be rolled out Advanced TV initiatives, covering the spectrum of digital TV platforms ranging from Connected TVs and game consoles to capable set-top-boxes, we’ll be starting work groups to create cross-screen video ad delivery standards iterated from IAB Digital Video-Suite, address the convergence of measurement and metrics for TV and Digital Video, discuss standards for OEMs, the role of data and targeting in AdvancedTV, and much, much more.

As a kickoff to greater focus in this arena, IAB held a Town Hall in May, sponsored by member, Delivery Agent, titled “TV in the Digital Age: How Big Brands are Harnessing the Power of Connected Devices.” The program was packed with stellar contributors to the evolution of the TV space, ranging from buy side to sell side to the tech sector. We brought in one of the few analysts who covers and knows this space inside and out, Heather Way of Parks Associates. Heather grounded us on what is included in the the Connected Device footprint and gave insights on projected marketplace distribution growth.

A panel of buying and technology experts gave us perspective on the unique value of the products residing on connected device platforms that play well together like targeting capabilities and on-screen conversion features. A case study was covered which used first screen embedded ACR technology in Samsung Smart TVs to deliver a T-commerce experience during the Super Bowl. How long have we been talking about buying Jennifer Aniston’s sweater from TV? The item for purchase in this campaign was not her sweater, rather, it was David Beckham’s underwear, sold by H&M. This campaign is proof that if we dream it we can achieve it. It’s those notions and thoughts, like Jennifer’s sweater, that give the industry an idea to rally around and in-part fuel the innovation of companies like Delivery Agent and Samsung to innovate.

I’d like to extend an invitation to you and your company to get involved in IAB’s Advanced TV efforts as they begin to emerge. It’s in the Digital Video Committee and AdvancedTV Work Groups that we will conceive the notions that lead to the next best thing in TV. If you are interested in participating, please email [email protected] for more info. 

As I close, I’d like to leave you with a highlight reel and full coverage of Delivery Agent’s TV in the Digital Age Town Hall. As you review, buyers, think of ways you can include functionality like this in campaign proposals and technologists, think of ways you can build off of the IP feature set to build new experiences for the viewer and client. Let’s all bring our ideas to the table and make some serious strides toward addressable, cross-screen video experiences. 



About the Author

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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. 

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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.


About the Author

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Joe Laszlo

Joe Laszlo is Senior Director, Mobile Marketing Center of Excellence, at the IAB.

 



I have been in multiple conversations recently with clients about video fraud, safety and content verification and how those impact video advertising today. I was asked questions such as “How concerned should I be? What’s the best way to prevent issues? What are my options? It became clear to me that while there’s overall concern about the topic of video verification, there’s also a knowledge gap that needs to be addressed. 

So here is a cheat sheet of the things you may want to consider in your solution. All the items below are critical to ensuring maximum protection for your brand. 

1) Media Neutrality
The single most important thing is to ensure that you are not using a solution that is provided by a company that also sells you the media. There are several verification solutions on the market, but many of them are homegrown solutions offered by media sellers that aim to offer insight into the quality, or lack thereof, of their competitors’ inventory. In other words, if Company A sells you media and also tells you, here’s a solution that will verify our media - can you believe that this is a viable solution? To avoid this conflict of interest and ensure that you’re getting accurate information, you should prioritize solutions that are media neutral.

2) Methodology and Technology
It is also crucial that you are confident in and comfortable with the technologies and the methodologies used by your solution of choice. Here are 3 questions you want to ask:
  • What’s your measurable Rate? - This KPI measures the percent of impressions verified out of the total impressions delivered in the campaign. Your goal should be to get as close as possible to a measurable rate of 100%.
  • Are you MRC accredited? - A solution that carries the MRC seal means it is a trusted solution that has gone through a rigorous set of tests and has been validated to meet a certain set of guidelines and industry standards. 
  • What’s your level of publisher transparency and cooperation? - Keeping your media partners in the dark is counterproductive and ensures the negative outcomes you are trying to avoid. Make sure the relevant data is available to your media partners in real time and that you frequently communicate with them to address any issues that may come up. 
3) Fraud Detection and Brand Safety
No verification solution can be considered viable without addressing these two topics. 

Fraud detection identifies whether an impression was generated by a human (i.e. real or not). Fraud has been an ongoing issue since the early days of online advertising with click fraud in search marketing and other CPC driven marketing. Since then, the problem evolved and started affecting CPM based advertising such as display and video. There is already a great deal of industry buzz, so let it suffice to say that there are many forms and tactics of impression fraud as the fraud committers become increasingly sophisticated. That said, there are several companies dedicated to solving the problem with robust solutions to address different methods of fraud. 

Brand safety focuses on identifying areas which are not suitable for brand advertising. An impression may be real and viewable but if the ad ends up appearing next to inappropriate content such as adult material, hate speech, violence, etc. - it can lead to a disaster for a brand which invested years in building its public image.

4) Full Campaign Visibility
You should make sure that you get granular data and reporting that gives you full visibility into what affected the performance of your campaign: How many issues were detected? How were they distributed across your media partners? How many impressions were affected? How did it affect your overall campaign performance? Etc. 

It is also important to combine your display verification and video verification reporting. There are solutions on the market that offer one or the other, and solutions that do both. The advantage in combining both is streamlined operations and the benefit of utilizing display verification data in video verification and vice versa. The more historical data you use, the more accurate your detectionand thus protection, will be.

That said, reporting is only good at detecting the issues and giving you a backward look at things. This is good for understanding what happened and suggesting measures for future campaigns. 

5) Impression Blocking 
The best measure to ensure that issues will actually be prevented is to deny the delivery of the impression. Several techniques exist to do this:
  • Blacklists - A list of domains is created where your ads must not run.  Ads can run on any site that isn’t on the blacklist.
  • Whitelists - A list of domains is created where your ads may run.  Ads must not run on any site that isn’t on the whitelist.
  • Impression-level analysis - Inspecting each impression and determining whether it meets the advertiser’s specific criteria, including brand or message conflict, along with fraud, brand safety, and other requirements, and denying ad delivery when these criteria aren’t met for the specific impression.  
Many advertisers today use black and white lists. However, this is like throwing out an entire container of eggs because one is broken. Making a decision per impression is preferred to making a collective assumption that a domain is always safe or never safe as it ensures fewer bad ad impressions where something went wrong on a trusted site, and more good ad impressions on sites that otherwise might have been totally excluded with a less granular solution. 

6) Page Verification & Video Player Content Verification
It’s important to understand that online video appears on pages composed of two separate pieces - one being the video player where the video content and your video ad appear, and the second being the actual page that hosts the video player. Verification issues can happen both on the page and inside the video player, but most solutions on the market focus on detecting issues within the page only. Often times, the page content may be safe while the video content inside the video player is inappropriate for your brand. You must be able to detect BOTH issues related to the page and issues related to the video content itself. 

6 Steps to Video Campaign Recovery
Once you are over the hump of admitting that fraud and a general lack of visibility represent a threat to your digital campaigns, use this list of six key considerations as your guide to recovery. When the curtain is pulled aside to reveal an industry problem, many technology providers will race to offer proprietary solutions. Not all solutions are created equal, so find a solution that deals with each of these verification considerations for you so that you have the most complete capabilities possible.

About the Author

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Ronnie Lavi

Ronnie Lavi is vice president, product, at Innovid, a technology platform for delivering immersive video advertising anywhere. Ronnie is a digital advertising technology veteran with nearly a decade of product development and product marketing experience.



Should You Submit to the IAB MIXX Awards?

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With less than two days left to submit entries to the IAB MIXX Awards, you might be asking yourself should you enter. Here’s a handy flow chart to help you decide.

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Congratulations to the 2014 IAB MIXX Awards Screening Committee

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The IAB MIXX Awards screening committee, comprised of marketing and advertising  pioneers, determines the pool of finalists from which the IAB MIXX Awards judging panel will select this year’s winners. Each one of these leaders individually scores each submission to ensure the world’s most creative and high-impact digital executions are recognized. The decisions this group makes helps shape the industry by highlighting what they think is important and innovative in interactive marketing as well as educates the industry on what’s happening and what’s next.

Every entry is evaluated by multiple committee members for an accurate, thorough review. The five entries with the highest scores become the finalists for each category. Finalists will be notified by August 8, 2014.

The 2014 IAB MIXX Awards esteemed screening committee are comprised of:

Guillermo Abud - Vice President, Digital Director, MV42 | MediaVest Multicultural
Aliza Adam - Vice President, Interactive Design Director, Deutsch
Azher Ahmed - Senior Vice President, Director of Digital Operations, DDB
Paul Alfieri - Vice President, Global Marketing, Turn Inc.
Gil Arevalo - Senior Creative, VML/Red Fuse
Cynthia Ashworth - Senior Vice President, Innovation Marketing, Univision Interactive Media
Joe Barone - Managing Director, Digital Advertising Operations, GroupM
Bex Bartolo - Planning Director, Iris Worldwide
Andreas Baumert - Associate Creative Director, kbs+
Dan Bensman - Associate Creative Director, Wunderman
Heather Bergstein - Director, Corporate Digital Marketing & Media, The Estée Lauder Companies
Christian Borges - Senior Vice President, Marketing, true [X] media
Natalia Borges - Vice President, Marketing, Batanga Network
Mitch Brandow - Vice President, Energy, BBDO
Kedma Brown - Vice President, Director of Integrated Production, Saatchi & Saatchi
Evan Caffee - Senior Manager, Reporting and Analytics, National Markets Sales Operations, YP
Adam Cahill - Executive Vice President, Media Director, Hill Holiday
Jaimie Camesano - Mobile Marketing Lead, Lenovo
Juan Cano - Account Manager, The Vidal Partnership
Matthew Carollo - Executive Director, Digital Marketing & Sales Enablement, Hanley Wood Media
Julia Casale-Amorim - Chief Marketing Officer, Casale Media
James Chester - Senior Analyst, Digitas Health
Federico Churio - Latin America Digital Marketing Manager, Lenovo
Harry Clark - General Manager, Underwriting & Integrated Marketing, New York Public Radio
Erin Clift - Vice President, Global Marketing & Partnerships, Spotify
Serena Connolly - Group Creative Director, LBI
Danny Cordella - Senior Copywriter, Creative, Digitas
Makiko Cronin - Vice President, Client Partner, Chango
Tom Davis - Chief Marketing Officer, Forbes Media
Karen Dayan - Vice President, Corporate Marketing, AdTruth
Sefanie Digianvincenzo - Associate Creative Director, Wunderman
Rachelle Digregorio - Strategist, Big Spaceship
Dabney Donigan - User Experience Designer, Big Spaceship
Kelley Drake - Director, Trade Marketing, AOL, Inc.
Kevin Dreyfuss - Vice President, Creative Director, Deutsch
Alice Dure - Digital Group Director, MEC Global
Sia Ea - Senior Creative Director, Ansible Mobile
Keith Eadie - Vice President, Marketing, TubeMogul
Carla Eboli - Chief Marketing Officer, Dieste Inc.
Tom Eslinger - WW Creative Director Mobile and Social, Saatchi & Saatchi
Linda Evans - Vice President, Cross Platform Marketing, Time Warner Cable
Rita Ferro - Executive Vice President, Disney Media Sales & Marketing, Disney Interactive Media Group
Joel Fisher - Vice President, Creative Director, Verve Mobile
Craig Furlong - Senior Creative Technologist, PointRoll
Fred Gerantabee - Director, Technology, Grey
Adam Gerber - Vice President, Sales Development & Marketing, ABC National TV
Ali Ghuzzi - Creative Director, Voltari
Jason Gomez - Digital Supervisor, BPN
Nicole Granese - Global Brand Marketing and Strategy, Visa
Lindsey Greathouse - Email Program Manager, Lenovo
Paul Greer - Associate Creative Director, Digitas
Nancy Griffin - Media Director, Tapestry Partners
Jose Guizar - Art Director, Huge
Steve Haroutunian - Vice President, Digital Production Manager, Mullen
Walter Harp - Vice President, Product Management & Marketing, Mixpo
Marc Hartzman - Group Creative Director, kbs+
Nikki Hawke - Marketing Director, North America, The Exchange Lab
Josh Heitsenrether - Director, Marketing Services, Summit Business Media
Elizabeth Hellman - Chief Marketing Officer, Dstillery
Bobbie Herbs - Vice President, Marketing & Insights, Rovi Advertising
Stephanie Hing - Campaign Planning and Delivery Manager, Lenovo
Amber Horsburgh - Strategist, Big Spaceship
Ryan Hose - Creative Director, Red Fuse
Christopher Howell - Associate Director, Digital, BPN
Erin Hutchinson - Director, Events Marketing, Merkle, Inc.
Greg Johns - Client Director, Digital Strategy, Initiative+
Craig Johnson - Global Account Director, Oracle, ZenithOptimedia
Pete Jones - Executive Creative Director, McCann XBC
Jae Sung Jung - Art Director, kbs+
Erin Kapczynski - Vice President, Marketing, Purch
Nancy Katz Aresu - Director, Client Services, Young and Rubicam
Brittney Kernan - Senior Technologist, Big Spaceship
Eric Kingsbury - Head of Marketing and Creative, FetchBack
Lindsay Kirkman - Project Manager, Worldwide Web Campaigns, Online Web Marketing, Lenovo
Jack Koch - Director, Global Marketing Insights, Electronic Arts
Kamil Kowalczyk - Copywriter, Leo Burnett
Lisa LaCour - Vice President, Marketing, Outbrain
Justin LaFontaine - Art Director, Huge
Claudia Lagunas - Senior Director, Global Digital Marketing, Visa
Scott Lahde - Director, Corporate Marketing, YuMe
Gian LaVecchia - Managing Partner, Digital Content Marketing, MEC
Tim Leake - Senior Vice President, Director of Growth & Innovation, RPA
Brian Leder - Senior Partner, Digital Director North, GroupM
John Leeman - Senior Vice President, Marketing, RMG Networks
Chris Lehault - Associate Creative Director, Wunderman
Michael Lepkowsky - IT Director, Digital Marketing Services, Unilever
Penn Li - Associate Creative Director, Razorfish
Tom Limongello - Vice President, Product Marketing, Crisp Media
Jane Lin - Director, Marketing, Gravity
Daniel Littlefield - Search Strategist, Morpheus Media
Ewa Lonska - Senior Art Director, Cramer-Krasselt
Karmen Luznik - Vice President, Marketing, Celtra
Mike Manganillo - Creative Media Director, McKinney
Chanel Marks - Senior Strategic Account Manager, Electronic Arts
Ryan McKone - Vice President, Strategy Director, Interactive, Cramer-Krasselt
Kirsten McMullen - Director of Marketing, Chief Privacy Officer, 4INFO
Suzanne Molinaro - Senior Vice President, Director Of Digital Production, Deutsch
Chuck Moran - Chief Marketing Officer, Burst Media
Rodrigo Moretz - Senior Digital Marketing and Innovation Manager for Latin America, Unilever
Alex Morrison - Senior Vice President, Director of Digital Marketing, Grey
Mark Mulhern - Senior Director, Mars Petcare, BBDO NY
Marco Muzzi - Marketing Director, AcuityAds Inc.
Scott Navarro - Agency Lead, AOL
Piryanka Nayak - Global Brand Strategy and Communications, Lenovo
Paul Neto - Research Director, YuMe
Chris Nicholls - Communications Director, Saatchi & Saatchi LA
James O’Neill - Vice President, Director of Interactive, Assembly
Brian Orlando - Senior Brand Manager, Unilever
Jabez Palmer - Executive Director, Creative, Mixpo
Juan Paredes - Brand Manager, The Vidal Partnership
Lisa Parente - Vice President, Millward Brown
Crystal Park - Senior Director, Marketing, AOL Networks
Catherine Patterson - Senior Vice President, ex. Integrated Production, McCann
Rob Peragine - Senior Account Executive, North America, BPN
Rey Peralta - Senior Vice President, Director of Creative Technology, Deutsch
Constanza Peuriot - Senior Vice President of Global Marketing and Expansion, BPN
Lea Platz - Associate Creative Director, kbs+
Ben Plomion - Vice President, Marketing, Chango
Joanna Popper - Vice President, Marketing, NBCUniversal Telemundo
Erica Pressly - Copywriter, The Barbarian Group
Erik Rabasca - Senior Vice President, Digital Integrated Lead, BPN
Rajesh Raina - Senior Director Global Marketing, Abbot
Mohan Ramaswamy - Partner, Strategy, Work & Co
Kerstin Recker - Vice President, Marketing, NTENT
Alex Reinoso - Art Director, Razorfish
Christine Roeder - Associate Director, Marketing, AT&T AdWorks
David Rosenberg - Associate Creative Director, SapientNitro
Soizic Sacrez - Trade Marketing Director, Terra Networks Operations, Inc.
Kendra Salvatore - Strategy Director, Bartle Bogle Hegarty
Matthew Sandercock - Program Manager, Consumer Digitization, GE Appliances
Paulo Santamaria - Digital Marketing & Social Media Manager, Lenovo
Shelby Saville - Executive Vice President, Managing Director, Spark
Marla Schimke - Vice President, Marketing, ZUMOBI
Laura Schooling - Chief Marketing Officer, Jumpstart Automotive Group
Adam Seymour - Senior Vice President, Managing Director, Carat SF
Naim Sheriff - Senior Designer, Big Spaceship
Deb Siegel - Associate Creative Director, Digitas
Hunter Simms - Associate Creative Director, Razorfish
Dahee Song - Art Director, kbs+
Angela Steele - Chief Operating Officer, Ansible
Kerry Steib - Product Marketing, Spotify
Patrick Stern - Chief Creative Officer, iCrossing
John Swadener - Principal, Consumer Impact Consulting, PricewaterhouseCoopers
Ryan Tetuan - Creative Account Director, Google, Inc.
Andrea Thompson - Vice President, Creative Director, McCann Erickson
Julian Tippins - Copy Writer, Huge
Alex Toledo - Senior Manager, Interactive Development, SapientNitro
Matt Trego - Associate Creative Director, McKinney
Zak Treuhaft - Chief Digital Officer, Grey
David Urbano - Director Digital Strategy and Production, The Vidal Partnership
Sean Vanderdasson - Senior Vice President, Games Service & Retail Marketing, WildTangent
Daniela Vojta - Group Creative Director, McCann XBC
Kip Voytek - Senior Vice President, Director of Digital Innovation, MDC Partners
Sean Wachsman - Brand Manager, Chambord Trademark, Brown-Forman
Rick Weir - Director, Business to Business Marketing (Local, Mobile), Yahoo!, Inc.
Eric Weisberg - Executive Creative Director, JWT
Esmee Williams - Vice President, Brand Marketing, Allrecipes.com
Donald Williams - Chief Digital Officer, Horizon Media
Jeffrey Woelker - Vice President, Director of Digital, Zócalo Group
Lise Yellen - Creative Director, VML/Red Fuse
Susan Young - Group Creative Director, McCann XBC
Felicia Yukich - Director, Marketing Communications and Content, Four Seasons Hotel and Resorts




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