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Data unions, being pioneered under new EU legal frameworks, offer the best of all worlds: consumers are empowered to control their data’s destiny while advertisers gain access to valuable information about potential customers in a privacy-respecting way.
Sir Martin Sorrell’s S4 Capital keeps growing, but with the constant focus of maintaining a “unitary” structure, a topic the agency chief discussed with The Drum's editor-in-chief Gordon Young.
"Too often, advertisers pressure their agencies to buy YouTube and Facebook, as they believe they can get the highest reach by tapping into these two channels. Advertisers should consider a multi-channel approach – there are a number of premium video opportunities outside of the walled gardens that bring additional benefits such as audience data, exclusive audiences, and content relevance that buyers wouldn’t have access to otherwise, not to mention brand safety."
The recent round of redundancies at Dentsu Aegis Network (DAN), first reported by The Drum, brings up the question of why the six holding groups are struggling in Asia Pacific. We take a look at how the groups are moving away from a regional strategy in APAC to a localised approach, why regional roles are disappearing and the future of the agency model.
In the last two years, for example, they’ve blown up the movie acquisition process at the Sundance Film Festival. This year alone, Netflix acquired 14 feature films, joining the eight it bought in 2016. That doesn’t even count the original productions it’s financed and released. In all, between the end of 2015 and what’s currently scheduled for 2017, Netflix has produced or acquired around 45 feature films, a number that doesn’t count documentaries or the TV shows it regularly releases. What has been interesting to watch is how the streaming company has created marketing campaigns for these movies. The goal, after all, is very different for Netflix than it is for traditional movie studios. Instead of working to drive the very specific action of selling tickets on a particular day, the goal for Netflix is a bit fuzzier: To provide an attractive enough overall catalog of content that maintains current subscribers and converts new ones.
No, you are not becoming crankier as you approach middle age – music is indeed getting worse every year. And the marketing industry’s obsession with optimisation is to blame. In late 2017, the YouTube channel Thoughty2 published a video exploring how music has changed over the decades. After starting with The Beatles, the narrator continues with an example of classic British understatement: “Fast forward to 2010, when Justin Bieber released his hit single Baby. This is generally considered to be a bad move.” According to the research in the video, lyrical intelligence, harmonic complexity, and timbral diversity have decreased while dynamic range compression has been used to make music louder and louder. In short, songs are becoming stupider – especially since every hit now includes the “millennial whoop” as well. “Instead of experimenting with different musical techniques and instruments, the vast majority of pop music today is built using the exact same combination of keyboard, drum machine, sampler, and computer software,” Thoughty2’s narrator states. “This might be considered as progressive by some people, but it truth it sucks the creativity and originality out of music – making everything sound somewhat similar.” As a rule, businesses do not like risk. The video states that record companies today must spend anywhere from $500,000 to $3m to sign and market a new artist. That is a lot of money to spend on a band without being fully confident of success. To minimise the risk and maximise the potential return, these companies optimise the music to do whatever seems to have worked in the past. Same set of instruments? Check. Simple lyrics? Check. Is it loud? Check. Simple melody? Check. Can you dance to it? Check. Millennial whoop? Check check.
The Australian digital advertising market reached $8.8 billion expenditure in 2018, an increase of 11.6% from 2017. Video advertising grew 26.2% to reach $1.4bn in 2018, demonstrating the continued positive trend for publishers as brands continue to seek premium environments in which to showcase their offerings. --- This is due to the continuing shift in consumer media consumption as Australians now spend nearly 100 hours a month on desktop, smartphone and tablets. In addition, nearly five million people access Internet content on their TV screens daily. The findings, which are part of the IAB Australia Online Advertising Expenditure Report (OAER) published by PwC, includes data points about the rate of programmatic buying and connected TV video advertising revenue data for the first time since it was published in 2007.
A survey from PubMatic and Forrester found that advertisers are spending 45% of their budgets on mobile, split evenly between web and in-app. Budgets are increasing, too, as 92% of firms expect programmatic direct in-app budgets to increase by 1% to 6% over the next 12 months. Though in-app investment is set to climb, the survey found that most advertisers are still relying on traditional KPIs. Outside of social media advertising, 80% of respondents use cost-per-click, while 76% and 74% of firms use cost-per-action and cost-per-acquisition, respectively.
Product placement in Bollywood could at one time have been described as blatant and unapologetic. But with social media users in India now numbering some 200 million, many of whom are all too happy to call out the brands and studios getting it wrong, the industry has been forced to rethink its approach. We look at the lessons to be learned from this lucrative market and, over the following pages, find out what programmatic could mean for product placement and look at brand integration in the age of streaming.
Around 88% of marketers in the Asia Pacific region are planning to increase their investment in the emerging field of ‘outcome-driven media’ over the next two years. According to research by Xaxis, 90% of APAC marketers surveyed said the primary metrics they used – most commonly cost per acquisition (CPA), cost per completed view (CPCV), cost per click (CPC), and click-through rate (CTR) - were very or somewhat effective in evaluating the success of campaigns against strategic marketing goals. Almost 74% either strongly or somewhat agreed that evaluating digital media spend had become more difficult over the past five years and almost four in five (79%) said they were very or somewhat likely to change the primary metric they used to measure campaigns over the next 12-24 months. For marketers in India, 91% agreed that they were likely to change how they measure campaigns.
Vice Asia has named Rappler co-founder Natashya Gutierrez as head of content strategy as it announces its Philippines launch. Vice is launching its local content platform in the Philippines, which is one of its largest markets in Southeast Asia, in order to drive audience and revenue growth via localisation. It's been covering Filipino content already and earlier this year, Vice received two Emmy nominations for the coverage of the Battle of Marawi, and two in 2017 for their coverage of the Philippines' Drug War. Prior to this, Natasha worked at online news site Rappler, at which she was also a founding member. She has to her credit several journalism awards including the Society of Publishers in Asia for reporting on women's issues, and the Asia Journalism Fellowship. She was also selected as one of Asia's emerging young leaders and named a Development Fellow by the Asia Foundation. Gutierrez said, “I’m excited to be joining the Vice Asia team, and being part of guiding and expanding our voice and strategy across the entire region. Some of the most interesting stories are hiding in plain sight all throughout Asia, and young people here are hungry to both consume and engage in creating that content.
Unruly has collaborated with publishers such as Kompas and The Inquirer to unveil trusted video marketplaces for outstream video ad inventory in Indonesia and Philippines. With the launch, the advertising technology company aims to give advertisers access to the local and international publishers in trusted marketplace environment. UnrulyX trusted Philippines marketplace partners include The Philippines Star, Summit Media, Fox Asia, MSN, GMA Network, Rappler and OLX Philippines. Meanwhile, the partner publishers in the UnrulyX trusted Indonesia marketplace include IDN Times, Fox Asia, MSN, Tempo, Brilio, OLX Indonesia and Perform Group to engage audience. According to Moris Rusmanto, vice president of digital sales Kompas Gramedia, there is a clear demand from advertisers for high quality video inventory and greater media collaboration to make buying at scale easier and more effective.
The 2018 Dmexco event felt quieter than previous years - particularly on day one when it’s usually a scrum to move through the halls. There were certainly more breakout areas – which were there to mask the fact that there were a couple of unfilled stands.
Singtel-owned Amobee has confirmed its purchase of Videology, said to have been worth US$101.2m, as well as making a string of senior hires to the business. Amobee first put in a bid for Videology in May, when videology filed for bankruptcy. In July, Amobee announced it had won the bankruptcy auction to the tune of US$117.3m, falling to $101.2m net purchase after adjustments. On completing the acquisition of assets, Samba Natarajan, chief executive group of Singtel’s Group Digital Life, said the addition of Videology beefs up the Amobee ad tech offering in the video and TV space “The successful acquisition of Videology’s assets accelerates the build out of our digital marketing business and expansion of its footprint across Asia Pacific. This creates further differentiation for Amobee’s digital marketing platform and enhances Amobee’s competitiveness in the rapidly converging market of TV and digital video advertising,” said Natarajan.
Over the last couple of years, the most interesting thing I have noticed when studying the brands dominating in the digital era is that most of the successful new big market disruptors - those making millions of dollars a month from online ads alone - have risen to fame thanks to their own internal marketing teams. This is especially true for those in the e-commerce space, who have grown predominantly through Facebook advertising.
Xaxis has launched a programmatic hub to help Chinese brands run digital display campaigns outside of China. The Outbound Hub enables China-based companies to leverage Xaxis’ technology and its global media network to run programmatic campaigns across foreign markets. The hub provides brands with audience strategy and planning, multi-market campaign operations and optimisation, and reporting and analytics. The launch comes as Chinese companies increasingly look to promote their brands and products in overseas markets as they look to grow globally. A number of Chinese brands, including Vivo and Wanda, invested in World Cup sponsorships in a bid to boost awareness globally.
There's been a lot of skepticism about the future of advertising. For most of the past decade, digital advertising has advanced considerably, with major corporations spending a majority of their marketing budgets trying to increase their online visibility. And with this, one of the main challenges facing marketers is breaking through the clutter to reach their target audience.
The tech enables publishers to sell their media upfront for guaranteed prices in the long term, enabling them to create long-term buying strategy atop the real-time bidding markets the industry appears to currently favour. The ledger (or contracts) are secured in the blockchain, helping maintain the infallibility of each transaction, adding a degree of much-demanded transparency to the process.
Coca-Cola’s latest experiment in opening short design briefs to the entire world illustrates its plans to no longer be seen as “a traditional advertiser” by appointing consumers – not agencies – as its co-creators. The drinks giant’s head of digital, David Godsman, admitted at the Adobe Summit opening keynote that the digitally connected world is “somewhat unknown” to the brand. Nevertheless, 12 months ago it embarked on a five-year digital transformation programme, underscored by four key areas: operations, business, culture and experiences. Surprisingly, Coca-Cola has filed its marketing and advertising operations into the latter category. Not only is Godsman asking his “traditional brand marketers to become experience makers”, but he’s earmarked the fans of Coca-Cola as vital to its content creation strategy.
Facebook is preparing the ground for a significant shift in emphasis over how its news feed operates by demoting posts by businesses, brands and media to make them less prominent.
Pinterest has revealed it now has 200 million monthly active users, up from the 150 million it had roughly a year ago.
With the upcoming Dmexco and Ad Week New York trade shows on the horizon, the words 'Artificial Intelligence', or 'AI', are likely to be ringing in the ears of attendees. The Drum probes experts on how to tell who actually knows what they're talking about, and who is just using another buzzword.
As children watch less TV, professional services network PwC said it expects the digital advertising market for kids to grow to $1.2bn by 2019 – at which point it will represent 28% of all advertising to children.
In 2017, most of us are now familiar with the concept of ‘content marketing’ and its associated benefits. Creating, publishing and distributing engaging content for a specific audience, if done correctly, can undoubtedly boost the fortunes of a business in numerous ways: improved visibility in search engines and the wider marketplace; higher domain authority for your site; more referral and social traffic; increased conversion rates; and deeper relationships with customers over time are among the benefits most frequently mentioned.
The number of businesses using Facebook to advertise their products and services has increased by 1 million since the end of last year to hit the 5 million mark.
