NFL Twitter Timelines

in FIFA, NFL, Twitter No Comments

It’s football season at last! The NFL is rolling out new twitter timelines for every game and even the league itself. The experience features real time scoring updates and commentary from the NFL, players, average users and the general media in an effort to connect and engage consumers with valuable content. The timelines make it even easier to track games, teams and players live, while watching the broadcast or not.

The feed recognizes any comments or searches bearing relevant NFL keywords; for instance, a search for #RamsvVikings, or #STLvMIN would yield updates and reactions to a phenomenal 34-6 victory from the Purple People Eaters, including a scintillating 67 td yard run by Vikings sophomore Cordarrelle Patterson.


If you followed the World Cup soccer this past June, the experience may feel familiar. FIFA implemented this strategy to great effect last June, promoting over 672 million tweets throughout the tournament.

What remains to be seen is how and when this vehicle will open itself up to brands. Major sponsors of the NFL would be remiss not to join in the fun and reach viewers consuming content via second screens to drive greater engagement, ad recall and purchase intent. Even brands not advertising on NFL programming would be wise to join in on the action. (Queue snarky comments weaving brands into the gridiron narrative: “Will somebody get Tony Romo some fast-acting Advil?”).

This Twitter initiative is a great move from the NFL, but it shouldn’t be the only brand to benefit.



Will Centner, Integrated Communications Assistant

Watch celebs speak out against gun violence in new PSA video

in Advertising, Gun Safety, Video, Violence, YouTube No Comments

Celebrities fight to end gun violence in Demand A Plan Now video

The anti-gun violence organization, Mayors Against Illegal Guns, has just released a new video for its “Demand A Plan Now” campaign. This video is not the first of the campaign, but it is certainly the most packed with celebrities and the most impactful.

The just-over-a-minute, PSA-esque video wastes no time getting to the heart of the matter from the first second. It opens with one simple, yet overwhelmingly powerful word from Jamie Foxx, “Columbine.” It is a word that has evolved to essentially be synonymous with “gun violence” after the worst-in-history high school gun massacre took place there in 1999.

Jamie Foxx speaks out for Trayvon Martin anniversary 

The subsequent moments of the black-and-white video maintain the same tone as the first — serious, urgent and real. An impressive roster of diverse A-list celebrities and athletes including Michelle Williams, Julia Louis-Dreyfus, Will Ferrell, Carmelo Anthony, Ellen DeGeneres, Idina Menzel, Reese Witherspoon, Beyoncé, Kate Hudson, Jon Hamm, John Legend, Jessica Alba, Victor Cruz and a handful more, go on to share powerful words and sentiments about the need to end gun violence. Now.

A year of domestic violence up close and personal

Sound bites such as “if we had just done something,” “how many more,” “it’s time” and the like resound throughout the PSA as celebrities urge peers and leaders to take action against the horrible crime that is gun violence. And they plead not just to take action but to take actionnow. Right now. It is already too late, and the powerful PSA reminds us all that we should not and cannot let it get any later.

The number of deaths from gun-related violence has increased steadily over the past decade, and while one video certainly cannot curtail this on its own, it sure is a good way to try. Cheers to all the celebs in the video who gave their time to support this most-needed cause.

Watch the powerful PSA below.


Rachel Berg, VP Integrated Communications Director

Michael Jackson’s post-death video “A Place With No Name” makes social media history

in Michael Jackson, Twitter, Video, YouTube No Comments

Leave it to the King of Pop, the original music video superstar Michael Jackson, to break social media history years after his death. Seriously. Jackson’s new video from Xscape’s “A Place With No Name” graced the world for the first time Wednesday evening on Twitter. This was yet another first under the King of Pop’s posthumous belt, as it marked the first time a music video has debuted exclusively on Twitter.

“A Place With No Name” is not the first single off of Michael Jackson‘s Xscape, but it is certainly the most groundbreaking in its music history footprint. After clips from the video were teased on Fox’s So You Think You Can Dance Wednesday evening, the full video was posted via a concise tweet on the late icon’s Twitter handle. While artists have previously looked to Twitter to share new clips or make fans aware of news, in-tweet video is a new feature offered by the social media behemoth and MJ is the first to use the feature to release an entire video. Would we expect any less, even posthumously? Nope.

5 Michael Jackson videos that stand the test of time >>

Adding to the hugeness of its Twitter release, the vid was also shown simultaneously on a giant screen in New York City’s Times Square. It was a night with a whole lot of MJ.

High school student nails Billie Jean >>

If you’re a fairly serious Michael Jackson fan, watching the “A Place With No Name” video is at times quite reminiscent of his early ’90s “In the Closet” video off of the Dangerous album. In fact, the videos bear a striking resemblance to each other. That’s probably because “A Place With No Name” features actual clips throughout from the Herb Ritts-shot “In the Closet” video itself. We see a ’90s MJ, clad in a signature outfit of white tank and black pants, dancing provocatively in the desert. In addition to these rare old clips from “ITC,” “APWNN” adds some new scenes of (obviously) non-Jackson material. This new material includes a young, modern couple singing and ahem, dancing, along to the “APWNN” lyrics in their own seemingly private desert.

As reported by Jackson’s estate, the late singer recorded “A Place With No Name” in 1998 with the song remaining unreleased until Xscape’s eventual release in May 2014. Xscape is the sophomore posthumous album release from Mr. Jackson, after the less-unique freshman release of the Michael album.

Justin Timberlake honors MJ’s moves in new video >>

With the thrill (no pun intended) of the unexpected yet awesome video release of “A Place With No Name,” we can only hope for more releases to come. MJ has never disappointed and we don’t think he will start now.


Rachel Berg, VP Integrated Communications Director (& newly appointed blogger for SheKnows Entertainment!!)

The Value of Branded Terms in Paid Search

in Ad Messaging, Advertising, Search, Search Engine Marketing No Comments

Search engine marketing, as a digital media channel, offers opportunity for advertisers to position their brand in front of people that are raising their hand and looking for relevant information. The task of the search marketer is to decipher a consumer’s intent and to help them along to their end goal while considering a specific brand throughout that experience. While undertaking that task, a brand should understand the value of buying its own branded search terms.

If a brand wants to drive the most qualified traffic to their site, branded term search traffic is undoubtedly the most qualified traffic a brand can receive within the search universe. In addition to a brand being present for their most qualified opportunities the following document will help to outline the reasons for buying one’s own branded terms.


Click Cannibalization vs. Incremental Volume: Cannibalization occurs when a user clicks on a sponsored ad instead of an organic ad, causing advertisers to pay for a click rather than receive a “free” click from organic search. Many believe that the presence of ads triggered by brand terms, when clicked, threatens the “free” SEO value available to organic listings. In fact the presence of both an SEO listing and a paid search listing has been proven to drive incremental click volume to the brand’s website. While there is a trade off of cannibalization of clicks from SEO to SEM, the value of incremental traffic is far greater. Many studies have confirmed that sponsored and organic listings create a synergy. The two listings on the SERP help to qualify the brand with consumers and add more opportunity of entry points for a consumer to take action. Frequency of exposure: two ads are better than one.

Google completed a research study entitled “Search Ads Pause Studies”. In this research, Google examined how the number of organic clicks changed when search ads were present and when search ad campaigns were turned off. The authors developed a statistical model to estimate the fraction of total clicks that could be attributed to search advertising.

“A meta-analysis of several hundred of these studies revealed that more than 89 percent of the ads clicks were incremental, in the sense that those visits to the advertiser’s site would not have occurred without the ad campaigns.”

This point is critical and stands as the biggest driver behind why Assembly recommends buying brand terms.


Ad Messaging: As stated earlier, the search marketer’s job is to continue the journey of the searcher in the direction of their intent. Branded- short tail terms offer little insight into the specific intent of a consumer other than the overall interest for the brand. Ad messaging can help discern mindset and further segment the search audience. Furthermore paid search ads allow for absolute messaging control, in real time, that is not available with organic listings. A brand’s control over how language or how deep links are displayed within an organic listing is very limited and any efforts to change this can take a significant duration of time to see results.


Deep Linking: Paid search offers full control of a consumer’s search experience. Whether choosing a landing page to connect consumers with their natural intent, or whether to promote specific areas on a site (i.e. Coupons, registrations, videos) that would not be linked to organically. Furthermore the use of the various ad extensions and ad iterations, like RAIS or site links, can enhance the consumer experience by offering more consumer option directly from the SERP


Brand infringement and protection: Search engines’ trademark policies allow for bidding on competitors’ brand names. Bidding on your own brand allows for a safeguard on other competitors who would otherwise be able to place their paid search ad above your organic listing. Because the brand is typically the true owner of the most relevant content online, branded keyword quality scores are typically very high and the cost to bid for placement is typically extremely low. Alternatively, because competitors do not have as relevant content as the brand the quality score is lower for competitors, making it much more expensive for them to bid for placement. It’s Assembly’s belief that the impact of the loss of consumers to competitors is far greater than the cost to bid for placement on branded terms.

As a strategic partner, we strongly recommend the continued purchase of branded terms across your brands. The opportunity to increase incremental qualified traffic volume to the brand site, control messaging, impede competitors and deep link a consumer’s experience are all significantly valuable tactics to help reach your overarching marketing goals.


James Hesdon, VP Search Director
Lauren Tallody, VP Associate Search Director
Emil Panzarino, SVP Director of Search Engine Marketing & Ad Tech

Summer Media Trends

in Advertising, Just for fun, Technology, Television, Uncategorized No Comments

As Florence of the Machine once said, “the dog days are over, the dog days are done” so is the concept that summer means media abandonment for the beach goers and cottage inhabitants.  Sure, television viewing dips, but even that is less of a precipitous drop than it once was 5 years ago.


Technology has enabled and encouraged binge viewing, as well as the concept of bringing media with you.  It’s no longer a surprise that pay-TV providers stem the churn tide by bringing back leading series like True Blood, Donovan and Orange Is The New Black at the nadir of the summer season. Internet usage during the summer not only remains steady, but for certain demographics (looking at you Gen Z) usage actually increases during the season.  Before traditionalists be-moan “kids these days” never getting out, remember that these kids carrying smartphones are still taking in a ton of media on-the-go.


So remember, summer is not only for sunburns, but also media opportunity.


James O’Neill, VP Interactive Marketing

Ad Viewability

in Uncategorized, Viewability No Comments

Ad Viewability: It Will Change The Way We Buy Anything With A Pixel

Ad Verification used to mean Fraud and/or Brand Safety. Advertisers were concerned that robots were being counted for served ads instead of humans, or worse, a brand being placed on a site that vehemently contradicted the values and virtues of the brand. The preceding definition still stands, and has been expanded to include Ad Viewability. The metric is new and slowly gaining traction industry wide.

Viewability is a rising concern among Advertisers. They are turning to their agency and/or Ad Exchange partners to prove they are judiciously spending the entrusted digital media dollars. Advertisers are looking for vendors of verification services to re-position the learning’s from a post campaign position to a more real-time, programmatic-like offering.


The standard definition of view-ability set by the Media Rating Council (MRC) is:

  • Display Ad View-ability: 50% of the Ad units pixels are visible for 1 second or more
  • Video Ad View-ability: 50% of the Ad units pixels are visible for 2 consecutive seconds or more

A recent study by ad verification vendor IntegralAd found that roughly 50% of US banner display impressions served on ad networks and exchanges in Q3 and Q4 of 2013 went unseen. In Q1 2014, the industry with the best view-ability figures was Travel at 49%. Forty-Nine percent being the best – means there is a lot of work to be done by publishers, servers, exchanges and agencies to prove their value to clients.

Video advertising solution manager TubeMogul found that in January 2014, its platform had less than 44% view-ability for video ads shown on players smaller than 1,000 pixels. The below chart shows that if the pixel size of your video ad is less than 1,000+, your view-ability is more than likely less than 45%.

If these figures from TubeMogul and IntegralAd are anywhere reflective of the view-ability of all or most ads placed across the web, then a better level of accountability must be put in place and soon.


View-ability will become the standard currency for digital media as advertisers will demand it. It will require upgrading current practices – most importantly determining the standard that publishers will implement with an ad viewable impression model rather than the ad served impression model of today. It will entail the adoption of a standard Javascript display / video unit – used across domains by all exchanges and networks. If such a standard were adopted it would be verifiable by the IAB standard SafeFrame iframe. iFrame can precisely determine the placement of the ad on a page via a triangulation of squares and rectangles. The alternative to the IAB SafeFrame standard would be a browser painting method – which relies upon the browser to communicate controlled information between the iframe and the page owner – allowing the measurer to determine that the ad is present, rendered and properly sized.

Publishers will have to do a significant amount of due diligence and yield management modeling to implement the view-ability price model. The new model presents an opportunity to Advertisers to mimic what we see today with Real Time Bidding (”RTB”). It is within reason to believe that given the efficiency seen in digital verticals like Search Term Real Time bidding, the demands for pre-bid view-ability are bound to come to the display / video ad verification arena.

An RTB type of verification system for digital video sits at the top of many advertisers wish list, but they must be aware of the tradeoffs and risks. Publishers offering programmatic like inventory can have higher view-ability and fewer brand safety concerns than open exchanges. They are, however, still susceptible to fraud and other non-compliance matters. The current adoption level of ad verification in the Fraud – Brand Safety – Ad View-ability sense is unknown and will only come with time and standard setting. Determining pre-bid viewability will come with a mix of statistical analysis and guesswork.

We anticipate that 2014 will be the year the industry starts realizing that the pixel, not simply the impression, must be verified.

Source:E Marketer: Ad Verification: From Post-Campaign Reporting to Real-Time Prevention- David Hallerman and Mitchel Winkels
E Marketer: Interview of George Ivie: CEO and Executive Director The Media Rating Council (MRC)


Ray Maylor, Sr. Research Manager

Meet Kevin Arsham: Resident Business-To-Business Expert

in Business-to-Business No Comments

Kevin Arsham is responsible for managing business-to-business client relationships. Kevin has 22 years of developing B-to-B communication strategies. Prior to joining TargetCast, Kevin oversaw the strategic planning initiatives for global companies including Dell Computers, FedEx, General Electric, Georgia Pacific, ING, Michelin Tires, Shell, Visa. He has been the former Chair of the American Association of Advertising Agencies B-to-B Committee and is currently the Vice-Chair of American Business Media’s (ABM) B-to-B Media Advisory Board. In 2002, 2004 and 2005 he was awarded “Best & Brightest Media Strategist” by Advertising Age B-to-B Magazine and “Rising Media Star of 2004” by Media Post’s Media Magazine. While working 9 years on GE’s advertising, Kevin wrote the Guide to Business to Business Media providing a fresh approach to business-to-business advertising, stimulating creative and strategic thinking.

Kevin Arsham

Kevin Arsham

Assembly: What are the key trends impacting business-to-business marketing in 2014?

Arsham: Content, mobile, and live events are continuing to be important media channels. We are helping clients, more than ever before, with storytelling in long documentary and thought-provoking formats. We are moving beyond the placement of a Full Page ad and a Leader Board to get the message across to the audience. We use the media space and carve it out further. We deliver our client’s viewpoint on the industry (they sell to) and extend the conversation to best practices, applications, and case studies. Cases studies are about the application of the client’s product in the field and to a specific facility that generated a certain result.

Events are going less-virtual and becoming more hands on – back to the basics of hand shaking and making deals and touching products on the spot (i.e. conference or seminar). We are taking best practices in consumer media; evaluating and applying tactics that have been meaningful in everyday life, creative enough to go viral, spin interest, and multiply audiences. For example, we find meaningful ways to reach production managers and engineers through media they engage with and create new ones outside their normal work environment.

Today, our job is to invent. We find new ways to break down barriers in getting to the customer. We soften the publishing boundaries between editorial and advertising; enable thought leaders behind the brand to become embedded in the content. For example, if you sell a product to school administrators, then you should be able to talk about school administration and have something to say about the industry – which is where media agencies come in, to make that a reality on a website, within a publication, on the phone/tablet, or in the out-of-home space.

Assembly: What are the biggest issues in business-to-business marketing right now?

Arsham: The issues are both challenging and exciting. Media becomes a journey from the moment you touch your tablet/smart phone or go online at your desk to when you are walking, driving, shopping, or out and about. We are doing the same thing for B-to-B. We are changing B-to-B marketing by making media the message (as Marshall McLuhan would say) and getting creative as possible to allow the media to extend the creative – to really help the creative first and foremost. Another challenge is to get consumer brands to think more about B-to-B advertising. There are great ways to extend brand communications and build revenue streams from buyers in healthcare, industry, military, law enforcement, retail, hospitality, education, real estate, just to name a few.

Another challenge is of course budgets. Sometimes there is not enough in the budget to make the kind of Star Wars movie you want and create the kind of engaging media tactic that will break through.

There is the challenge of trying to keep the investment where it needs to be and avoid going too far into the $1 CPM networks of media properties or knock offs that make it seem you just bought a grab bag of goodies at a carnival. We need to be in the industry media; created by quality publishers who started their media brand for the industry as early as when radio was invented. By the same token, budgets should set aside for what I call “after 5 media” – turning your target (a job title) into a consumer for a moment and reinforcing where and when you can when they are traveling or at home.

Assembly: What do you look for in quarterly financial reports?

Arsham: The percentage of marketing budgets towards events, print, and other forms of media. I would hope for a steady percentage in print, an increase in non-traditional, and a continuous increase in digital.

Assembly: Why did you personally choose to specialize in business-to-business marketing?

Arsham: I owe it all to my parents. My father has an amazing work ethic; going to work every day and never afraid to get his fingernails dirty. My mother is all about organization and creativity. My father is an industrial worker (runs his own scrap metal-recycling company). My mom is on the corporate side, experienced in healthcare, IT and military. Growing up, I saw greased, well-oiled manufacturing- machines inside a plant when I worked for my father during the summer. My mother worked in an organized and well-managed white-collar organization. Put two and two together and you have the industrial paternal upbringing and the maternal corporate/creative upbringing. My first job in B-to-B was on the YKK Zipper account. My boss at the mid-size Atlanta agency I worked for did not want any part of the trade advertising, felt it to be boring, and so he gave it all to me and I have enjoyed it ever since. This joy was solidified when I got the part to manage all of GE’s B-to-B advertising at OMD and learned how to manage a global brand with a diversity of products and technologies.

Assembly: What do you enjoy most about business-to-business marketing?

Arsham: It is simple and does not stand for a lot of fluff and a bulk of numbers to project or assume that something will work. It is a straightforward approach where you can go directly to the target and be in front of them when they are immersed in their jobs. There is nothing more fascinating than reading a trade publication in an industry – it tells you why certain things are made, how they are made. B-to-B media can teach you how a car is made and distributed, how we get our electricity, why our computers work the way they do, why a doctor chooses a certain x-ray machine for his or her office, and how we are able to fly from one place to another at any given time. This is all made possible because someone or some company had a product and sold it to another company and in turn that company gave something to the world to buy. Media professionals see their work during a commercial break on TV, they know when it will air and where. I see my work by picking up a trade publication, going online to a trade publication web site, following and sending Tweets to certain business decision makers, and when I attend a trade show.

Day Three Of The MediaPost Online Video Summit: Focus On Native And Social Video

in Facebook, Native, Twitter, Video No Comments

How do brands capitalize on built in social communities? How do you deliver engaging social video content, yet still be authentic? Before you engage, ask yourself is this shareable and would you watch on a mobile device?

Video will account for 2/3rds of mobile traffic by 2015. What makes story telling in video different on mobile and social? It is essential that your content is authentic. You need to respect your audience, be fun, impromptu and natural, irreverent, but not glib. It needs to be highly visual and they need to be able to watch it or read it; the platforms are all short form. Also, keep in mind most mobile will not have their audio on. How do you break through? A brand must deliver the best part of the video to deliver core message in first 3-5 seconds. You need to “ruin” the reveal- give away the goods upfront to get a user’s attention.

There are 80 million millennials that have grown up with the environments of You Tube, Facebook, Twitter, Instagram, Vine and Snapchat. If you want to reach them, you have to go where they are, but keep in mind that each of these social platforms act differently, so you need to see which would work best for your brand and design the video for the specific platform.

Social Platforms:

Vine is owned by Twitter. The format is 6.5 seconds or 180 frames to tell your story. Every second there are 9 tweets that go out with a Vine video attached. Humor and personality need to be huge here. Vine is truly a natural environment with non-celebrities leading the social pack.

Instagram, 150MM+ users. :15 video format. 17% of US adults use Instagram. 11% of US teens. It is owned by Facebook. Big potential for growth for brands because it is a sophisticated community that shares and uses hashtags to organize photos. Cull from the community and usual highly visual pictures to tell your story.

Snapchat- audience is young, 70% female between the ages of 13-25. 400MM messages are sent per day. Most of these messages are sent to one person, and it is growing. Highly visual, engaged audience.

Twitter, 240MM WW users. Represent 18% of US adults, 46% use daily with 29% coming back multiple times daily. 76% of those use it do so in the mobile space. Twitter is often a first source for news; the audience is sophisticated and aspirational. You have to be part of the real time conversation.

Facebook, 71% of US adults. 94% of US teens. Teens are sampling other networks, but not abandoning it. With Facebook you need to be able to tell a complex story in a simple way. On Facebook, you have to have a story post that will last for 18-48 hours.

So how do you decide which platform? Look at where your audience is. Decide what you want to achieve from your social video and manage your goals to determine the type of engagement you want. Remember:  the web is not the same as social. Your content won’t work the same across both. There are different audiences, length, and writing styles for each. You have to design and measure differently for each platform.


Roni Jenkins, VP, Interactive Marketing Director

Day Two: MediaPost Online Video Summit; focus on viewability and fraudulent activity.

in Online, Video, Viewability No Comments

How should video viewability be defined? How do we provide transparency and accountability? How to we protect our brands for fraudulent activity? How do you know if you are purchasing fraudulent ads? Who pays for it? Whose responsibility is it to monitor this?

There is an estimate that roughly 25% of of the $30 billion online ad industry is fraudulent. This is much higher in the programmatic space because there is a mix of both premium and long tail inventory so the “bad guys” i.e., pirates who hack into sites and create fake traffic, can more easily hide in this area to blend in with good inventory. The challenge of fraudulent inventory is creeping into the video space because CPMs are generally 10x higher than display, so this provides a greater revenue opportunity for malicious companies that run these fraudulent ads.

Here’s an example of how this works:  a PC gets infected with a virus. Software gets installed into the background of your computer and is unknown to the user. When a user goes online, the pirate software launches in the background and is directed by an outside computer. It directs what sites to visit, and these sophisticated systems will serve ads on a random page URL that are full of stacked ads, non human bots, and non viewable inventory– all deliberately malicious behavior that generates revenue for the bad guys, yet all this background activity is unknown to the user. The site gets fake traffic, and the users cookies get dropped, so there is a user profile associated with that traffic, and sites can sell this inventory to third parties because it seems real. This activity primarily shows up in the exchange or real-time bidding space, but even legitimate publishers- the ones looking to expand their inventory- are accidentally purchasing this fraudulent activity. Most of this in the video space comes in the form of running video in-banner ads rather than pre roll inventory.

Some pirates are even able to insert their malicious software on a levitate publisher site. Why would the bad guys want go to a legitimate publisher site? They do this, without being paid, to build up the cookie pool, also to throw off the tracking of their software so they seem legitimate. The bad guys are extremely sophisticated. We are brands, and the publishers we align with are going up against some of the best hackers in the world. Exchange inventory is rampant with fraud.  We need to Encourage all of our publishers to invest in ad technology to help fight the bots such as Intergal Ad Science, Double Verify, or White Ops.

Verification and brand safety software is a must have. We need additional levels of defense such as blocking to proactively block fraudulent activity. Block the activity before it happens. Be proactive versus reactive. The bad guys are moving fast, you have to constantly be on top of it and monitor and update your tracking. Assume all the impressions you are buying are guilty (fraudulent) until proven innocent (legitimate inventory). Recognize the value in premium content and legitimate publishers. The premium price is beneficial to pay because you can have guaranteed non-fraud, viewable impressions and rely less on questionable third party ad sources.

With all this fraudulent activity it poses the question “Who should pay for blocked impressions?” Should it be the agency or publisher? The suggestion is to work it out in advance with the publishers. If a publisher had ad monitoring software and your brand has ad monitoring software, then you have the best protection you can have. Your fraudulent activity will be limited. I feel this idea of payment for blocked ads is a bigger issue and would take a tremendous amount of time to negotiate payment terms with all of our vendors. This should be addressed in the contracts we enter into and the IAB should update our Terms and Conditions to version 4.0 which would include payment terms for blocked impressions after mutually agreed upon discussions in the industry.


Roni Jenkins, VP, Interactive Marketing Director

Day One of the MediaPost Online Video Summit

in Online, Video No Comments

How do we have online video marketing success and what defines it? There were four key topics of discussion:  measurement, production, performance, and distribution.

Measurement via reach, frequency and GRPs: what else should we measure?

How do we build, reach and frequency in the online space? Micro targeting is great but comes at a cost of reach. With social, marketers thought that if they developed content, the reach would come. Facebook has reminded us that reach isn’t free. Video can help solve for both:  Video is 3 or 4 times more engaging than just imagery. A good online video will be your tool to help build frequency because it is engaging. A word of caution though with changing technology and the new “disappearing content” programs. Snapchat, and a Mark Cuban investment in a new company called CyberDust, which is aiming to be for texts what SnapChat is for photos, will make user posts disappear once seen, and will challenge marketers on how to build frequency in age of disappearing content. Agencies are requiring content creators to guarantee views. We need OCR or VCE to manage the new online currency.

What else should we look at? When you get into online you have to add in other metrics other than reach, frequency and GRPs…you have to add in secondary metrics such as viewability.  We also need to understand technology to manage R/F across devices.

How do we produce video that will drive engagement?

Technology has changed video landscape where low quality video can produce quality results, production values can be lower than what have expected in past, and there is no need for “Hollywood” type videos that drives cost and takes longer. Buzzfeed is a good example of creating content that drive a habit. What Buzzfeed did is establish a series of things that are recognizable, users know the format and what to expect– a series of quick lists that are easily digestible and you don’t have to work hard at figuring out what you’ll get.

Reality of human behavior is that people want quick sound bites, it’s a twitter world.

When thinking about brand video, you have to think like a talk show host…you have to think on your feet and deliver. To get a video viral there needs to be one of three things:  Make someone cry, make them fall on floor laughing, or have the ask themselves “is that real?”.  Keeping in mind, this must be authentic to get users to engage.

Performance: what should we expect on Paid vs Earned Media?

Brands need to create strong content, but focus on optimization tactics to strengthen the reach. Average earned media is on average 100% of what you received from paid media while paid media is in flight, but if video is tagged correctly then you can also get an additional 50% earned from SEM over next year.

You need to look at engagement immediately:  How a video performs during the first 24 hours is critical. Velocity, completion rate, and engagement are the three things you have to optimize to get distribution based on the search engine algorithms. The odds of true viral success are low.

Here is an example of an online video that revived a tremendous amount of earned media. Take a look at this Anna Kendrick New Castle video: Other brands that have great earned media success are Red Bull, Nike and Chipotle.

Distribution and You Tube:

You Tube is its own medium, it is the world largest repository for videos with more than a billion views per day; it’s also the worlds second largest search engine and the third social network by percentage of active users. One size does not fit all when it comes to marketing on YouTube.

  • -90% of you Tube is viewed off of YouTube -YouTube reaches more males 18-34 than any cable network. It is where to find those people who don’t watch TV anymore.
  • -40% of You Tube views are on mobile
  • -in comparison, video is only about 3% of Facebook activities

“The best thing to make something go viral is to pay for it.” ~Unknown


Roni Jenkins, VP Interactive Marketing Director

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