Google, Facebook, Stare Down Private Lawsuits; Vevo Introduces Ad Targeting Based On Moods

Here’s today’s AdExchanger.com news round-up… Want it by email? Sign up here. Mo’ Problems Google and Facebook are expected to become ensnared in a host of private antitrust lawsuits stemming from the government cases against the tech giants. The New York Times reports that more than 10 suits echoing the federal and state cases have alreadyContinue reading »

The post Google, Facebook, Stare Down Private Lawsuits; Vevo Introduces Ad Targeting Based On Moods appeared first on AdExchanger.

People file lawsuits to test boundaries of California’s privacy law

“It’s kind of like throwing spaghetti at the wall.” That’s how Jessica Lee, partner and co-chair of the privacy, security and data innovation practice group at law firm Loeb and Loeb, described the approach people have taken when filing lawsuits against companies under the California Consumer Privacy Act.

California’s privacy law — which allows California residents to restrict companies’ ability to sell their personal informatio — has been notoriously ambiguous, so people have turned to the courts for clarity.

Many of the suits filed since the law went into effect Jan. 1, 2020, allege companies have failed to allow people to opt out from sale of their personal information or failed to disclose that the companies share people’s personal information with third parties, according to lawyers tracking CCPA lawsuits. Meanwhile, a spokesperson for California attorney general Xavier Becerra said the AG’s office has sent dozens of notices to companies demanding that they fix problems leading to noncompliance with the law.

A lawsuit testing phase is common when new laws are passed, said Alysa Hutnik, partner and chair of the privacy and security practice at law firm Kelley Drye and Warren. “Plaintiffs are trying to pressure-test all possible avenues.”

So far, because few of the cases related to these lawsuits have been concluded, the parameters for how the law can be applied remain murky. Lawyers interviewed for this story suggested no precedents have been set at this early stage.

Testing legal boundaries
The CCPA includes a private right of action that allows an individual or group to sue a company for data breaches that violate the law. However, in some cases, the individuals and groups of people filing these lawsuits are pushing the boundaries to test just what sorts of alleged violations they have the right to sue over according to the law, said lawyers tracking CCPA lawsuits.

In some cases, the lawsuits attempt to circumvent the CCPA’s private right of action limits by alleging companies have violated other California laws, such as the state’s Unfair Competition Law, according to data privacy and security lawyers. Some suits allege, for instance, that companies have made untrue statements if they claim they do not sell personal information when they actually pass it along to third-parties.

“The strategy seems to be to try boot-strapping CCPA onto some of the existing California privacy laws,” said Lee. Law firm Morrison Foerster reported this same trend.

Exactly how many CCPA-related lawsuits have been filed is unclear. Law firm Perkins Coie told Digiday that 101 lawsuits have been filed. Morrison Foerster, said in January, “Nearly 50 cases have been filed seeking damages under the CCPA, either in connection with data breaches or based on alleged violations of the Act’s other consumer rights (with even more using the CCPA to add context to other privacy-related claims).”

Dozens of notices to publishers from the California AG
Then there are the warnings. In addition to lawsuits, the California AG’s office has sent notices to firms such as retail, financial and health-related website publishers to inform them that they are not compliant with the law. These violations include failing to respond appropriately to people requesting their data be deleted or not sold or failing to update company privacy policies, according to Dominique Shelton Leipzig, partner and co-chair of ad tech privacy and data management practice at law firm Perkins Coie.  

The “notices to cure” sent by the AG’s office give companies 30 days to make changes to comply with the law. The notices are not publicly available, and the number of notices sent is confidential, according to the California AG’s office spokesperson, who described the figure as being in the “dozens.”

Shelton Leipzig said some website publishers have received notices if their websites state only that they share data with “advertising partners” rather than listing specific partner companies by name.

Other enforcement notices have plucked at low-hanging fruit, said Dan Jaffe, group evp of government relations for the Association of National Advertisers. “It was often, ‘Where’s your opt-out button?’” he said.

A temporary cure
Firms that do not make adjustments to satisfy the AG’s demands within the 30-day remedy window may go into a negotiation period, said Lee. Then, if negotiations don’t lead to a satisfactory fix, she said, “That’s when we’ll start to see public enforcement by the attorney general.” That could come in the form of civil penalties of $7,500 for each post-notice violation.

The 30-day compliance leeway afforded companies that receive these types of notices will go away, though. California’s updated privacy law, the California Privacy Rights Act passed last year, which will replace the CCPA when it goes into effect Jan. 1, 2023, does not have that provision.

“The CPRA does not have the 30-day cure,” said Jaffe. “So things may become a little bit more intense.”

The post People file lawsuits to test boundaries of California’s privacy law appeared first on Digiday.

Future of TV Briefing: TV’s upfront advertisers hold tight

The Future of TV Briefing this week looks at how advertisers have — or, more accurately, have not — taken advantage of the more favorable cancelation options they angled for in last year’s TV upfront negotiations.

01. TV’s upfront advertisers hold tight

02. Who will win the NFL rights?

03. TV networks’ upfront presentations, Roku’s original programming plans, NBCUniversal’s streaming bundle ambitions and more

TV’s upfront advertisers hold tight

Advertisers secured more favorable cancelation options in last year’s upfront negotiations, but they have been reticent to take advantage of them. 

The key hits:

  • TV advertisers have kept their upfront commitments rather than cancel a large percentage of their ad buys.
  • Agency executives expect clients to retain their second-quarter commitments as cancelation deadlines near.
  • Advertisers are keeping their commitments as advertisers’ businesses have rebounded and TV ad inventory has become harder to come by.
  • Upfront advertisers keeping their commitments, combined with viewership shortfalls, is stretching an already tight TV ad market.

Upfront advertisers’ unwillingness to give up their precious TV inventory in the first quarter, combined with continued linear TV viewership declines, has tightened an already taut TV advertising market that will likely continue to tense up in the second quarter. “There were hardly any [cancelation options] that were taken for the first quarter. That’s really jamming up what’s happening right now,” said one agency executive. 

Executives at other agencies also said advertisers largely did not invoke their upfront deals’ options to cancel a percentage — up to 50%, for some advertisers — of the ad dollars an advertiser had committed to spend a with a TV network owner in the first quarter.

“I’m not really seeing any major cutbacks outside of the normal cadence,” said a second agency executive.

“The expectation was that there would be more cancelations, but so far we haven’t seen that much of it,” said a third agency executive. “I heard of cancelations here and there, but nothing so pervasive that indicates a bottom falling out.”

While the bottom could fall out in the second quarter, it will more than likely hold. The deadlines for some advertisers to cancel a portion of their second-quarter upfront commitments are this week, but agency executives expect most clients to keep their commitments in tact. “We’re seeing clients continue to spend on linear,” said a fourth agency executive.

As with the digital ad market, the TV ad market has rebounded from the depths of last spring. Advertisers in industries like quick-service restaurants and retail saw their businesses largely withstand the pandemic and began to increase their ad buying in the second half of 2020. TV inventory was particularly prized for its ability to simultaneously reach a large number of people on the biggest screen in their homes and let them know a company was open for business.

However, as advertiser demand has flowed, audiences’ attentions have ebbed through the end of the fourth quarter and into the first. “Networks are continuing to face struggles with the ratings,” said the fourth agency executive. That has impeded TV networks’ abilities to deliver guaranteed viewership numbers to upfront advertisers. “They underdelivered a ton in the fourth quarter,” said the first agency executive. In turn, TV networks’ debts to advertisers for falling short of viewership guarantees have piled up, they are pinching the amount of inventory they make available in the scatter market, where the networks sell ad slots left unclaimed by upfront advertisers. “Broadcast is incredibly tight right now,” said the third agency executive.

Because of the tight TV ad market, scatter TV ad buyers like TV ad buying firm Tatari are booking deals months ahead of time than usual. Normally, Tatari may place TV ad buys three to four months in the future. “This year, we’re looking ahead into Q2 and even Q3, so six to seven months in advance,” Tatari vp of media Brad Geving said in January.

Since TV networks owe inventory to advertisers for viewership falling short of networks’ guarantees, some ad buyers had expected advertisers to cancel a portion of their upfront commitments and use the owed inventory — otherwise known as “make-goods” — to effectively pull back their money but keep their ads running and then repurpose the recouped money to buy ads in the scatter market. However, given the dearth of available inventory in the scatter market, “there’s not a lot of places to go with the money,” said the second agency executive.

This inventory scarcity has encouraged advertisers to keep their upfront commitments rather than offload them only for an advertiser to later decide they would like to be on TV and find a lack of openings or a jump in ad prices. “The supply-demand model in not favor for advertisers,” said the fourth agency executive.

Heading into the second quarter, ad buyers are also wary of the competition for available TV inventory to increase. With stay-at-home orders letting up across the country and as more people receive vaccinations, some advertisers that have been largely dormant since March may return to the market. “Who’s to say that it might get even worse? Are studios going to put movies in theaters and buy [TV ad] time for the second quarter?” said the first agency executive.

They just might — if they can. An agency executive with clients in the movie industry said they “have been struggling with how I manage our theatrical business, knowing it will be a hard marketplace when they are ready to come back in.”

Confessional

“It’s so hard to get organic reach on YouTube these days. If someone approached me and said ‘Should I start a YouTube channel?,’ I would say no.”

Digital video executive

Stay tuned: Who will win the NFL rights?

TV’s most prized programming is up for grabs. The NFL is looking to wrap up its next round of rights deals “in the next few weeks,” according to CNBC. Which TV networks — and streaming services — emerge as the rights holders will shape the TV and streaming landscape through the rest of this decade, depending on the length of these next deals.

However, the NFL’s next rights deals may not resemble the dramatic sea change that the league’s streaming deals with Yahoo, Twitter and Amazon in the past decade seemed to portend. While a streaming service may secure exclusive rights to the NFL Sunday Ticket package currently held by AT&T, the major TV network owners that already hold NFL rights — Disney, Fox, NBCUniversal and ViacomCBS — are likely to retain them, according to Variety.

There seem to be two main reasons that NFL rights would remain with the TV networks.

The TV networks can hardly afford to lose NFL games
The next round of NFL rights are expected to be expensive — at least $10 billion per year, per CNBC. But the broadcasts are invaluable to the major TV networks. In 2020, NFL games accounted for 33 of the top 50 most-viewed TV shows, according to Sportico. That makes them a hugely important source of ad inventory for networks that are losing audiences elsewhere but are seeing people continue to tune in to NFL games and advertisers continue to pay up. Moreover, if Disney and ViacomCBS secure rights to stream NFL games to people who don’t have pay-TV subscriptions, that could significantly boost their respective streaming services.

Streaming services cannot produce NFL games
When Amazon, Twitter and Yahoo have streamed NFL games, all they did was simulcast the TV broadcasts produced by CBS, NBC and Fox. Tech giants like Amazon and YouTube owner Alphabet may be better able to afford the NFL rights than the TV network owners that are losing linear viewers and losing money as they shift their businesses to streaming. But the tech companies are effectively distribution pipes. The NFL likely understands that, as much as people may enjoy watching football, audiences’ interest may diminish if production quality goes down.

Numbers don’t lie

94.9 million: Number of people who subscribed to Disney+, as of Jan. 2.

100,000: Numbers of subscribers that Hulu’s streaming pay-TV service lost in the fourth quarter.

$545 million: Amount of ad revenue CBS generated from this year’s Super Bowl.

Trend watch: TV networks’ upfront presentations

TV networks are eager to return to the negotiating table with upfront advertisers. In the past week, many of the major TV network group owners announced the dates for their annual upfront presentations, all of which will be virtual this year.

  • Discovery will host its upfront presentation on May 18.
  • Disney will host its main upfront presentation on May 18, though the company will hold an event to show off its ad technology on Feb. 23 and another on March 23 to talk about its upcoming programming.
  • Fox will host its upfront presentation on May 17.
  • ViacomCBS will host its upfront presentation on May 19.
  • WarnerMedia will host its upfront presentation on May 19.

The networks scheduling their upfront presentations for the usual mid-May period signals that they aim to set this year’s deal-making to take place during the usual time frame, with negotiations between the major networks and ad buyers finalized by the end of the July. A+E Networks is looking to get ahead of other networks by hosting its upfront presentation on March 3; meanwhile, as of this writing, NBCUniversal had yet to schedule its upfront presentation, though it will host a showcase for its ad technology on March 22.

The networks are likely looking to take advantage of the currently high demand for TV advertising inventory. Ad buyers expect the networks to use that market dynamic to push for price increases over last year’s marks and for advertisers to include more of the networks’ streaming and digital video inventory in their deals in order to displace some of that demand and retain ad dollars.

Of course that doesn’t mean this year’s upfront cycle won’t start until then just because the presentations won’t take place for another few months. In fact, it already has started. Advertisers and their agencies have started the initial planning phase, according to agency executives. They expect to start talking with TV network owners within the next month to get a sense of what the networks will be pitching this year so ad buyers can begin to prioritize their deal talks. “Every year, it has gotten a little bit earlier and earlier,” said one agency executive.

What we’ve covered

Esports orgs search for new revenues:

  • Esports organizations are borrowing business strategies from media companies.
  • Their strategies include striking influencer deals, selling ads and selling shows to TV networks and streamers.

Read more about esports here.

TikTok is becoming a staple of advertisers’ social budgets in 2021:

  • TikTok has started to move out of advertisers’ “experiment” bucket.
  • Improvements to TikTok’s e-commerce capabilities have encouraged advertisers.

Read more about TikTok here.

Why Tegna is making a bet on its fact-checking vertical Verify:

  • Tegna plans to turn its fact-checking vertical into a standalone property by this summer
  • Tegna expects Verify to differentiate from other fact-checking properties like Snopes by focusing on video.

Read more about Tegna here.

How TheSoul Publishing grew revenue via platforms with viral social media life hacks:

  • TheSoul Publishing owns 5-Minute Crafts and makes money by posting videos to Facebook, YouTube and Snapchat.
  • The company’s revenue increased by 45% in 2020 compared to 2019.

Read more about TheSoul Publishing here.

What we’re reading

Roku preps original programming play:
A month after acquiring Quibi’s programming library, a job listing posted by Roku mentions the company’s plan to develop original programming, according to Protocol. For years, Roku has denied having any plans to produce original shows or movies. Even when Digiday reported last year that Roku had talked with multiple media and entertainment companies about producing original shows for the connected TV platform, the company denied it. But ad buyers have been calling for Roku to develop original shows to differentiate The Roku Channel from every other free, ad-supported streamer, including Amazon’s IMDb TV, which began producing original shows last year.

Streamers cut prices to keep subscribers:
Streaming services, including Discovery’s Discovery+, ViacomCBS’s CBS All Access (soon to be Paramount+) and WarnerMedia’s HBO Max, have been offering up big discounts for long-term subscriptions, according to Vulture. The strategy seems meant to address the hummingbird effect of people flitting from one streaming subscription to another each month, as sought-after shows and movies leave one service and land on another. It also resembles the long-term commitments of the pay-TV industry.

NBCUniversal aims for streaming bundles:
In another move reminiscent of the traditional TV business, NBCUniversal is looking to package its streaming service Peacock with streamers from other companies, including ViacomCBS, according to The Information. The report reflects how standalone major streamers like Peacock may need to become aggregators to compete with the likes of Netflix, Disney+ and Hulu, each of which are aggregators in their own right. Peacock has already begun to pull in programming from other companies like A+E Networks and World Wrestling Entertainment. Meanwhile, AT&T CEO John Stankey has previously said that, in developing HBO Max, “we’re basically unbundling to rebundle.”

The post Future of TV Briefing: TV’s upfront advertisers hold tight appeared first on Digiday.

‘So much uncertainty’: Media dollars see-saw between Apple iOS and Google Android devices ahead of IDFA

Apple’s anti-tracking feature is looming. But whether it will help or hinder ad dollars flowing into Apple depends on who you ask.

There’s a general consensus that costs will go up once fewer companies are able to use Apple’s mobile Identifiers for Advertisers mobile identifier to track people. The harder it gets to track people the more it costs to see who clicks on what ad and whether doing so leads to an app being installed or some other lower-funnel action. But beyond this very basic outline of the future, no one knows what to expect. 

“Everyone is nervous about the future and how the performance of their advertising is going to take a hit whenever Apple’s changes do arrive,” said Bryan Karas, CEO of performance marketing agency Playbook Media. “I wouldn’t say anyone is trying to frontload budgets or make big commitments to another platform because there’s so much uncertainty.”

Still, provisions must be made for the short term, particularly for those marketers relying on in-app ads to drive installs or a purchase. They can’t afford to stop all campaigns on Apple. Not when those people have a higher lifetime value and usually spend more than those on other mobile devices. But those marketers do have to be even more prudent with their media dollars on iOS during these times of uncertainty, and sometimes that means moving some money over to the other dominant mobile platform — Android. 

“We are definitely seeing this trend happening,” said Sergio Serra, senior product manager for the supply-side platform strategic business unit at ad tech vendor Inmobi. “Without a consistent identifier for iOS supply, and until the point Google officially moves into a similar regimen, marketers are actually more likely to keep the status quo and temporarily outclass the importance of iOS for their media plans.”

Fewer dollars spent on iOS could help ease pressure on contingency plans — at least until the furor over advertising on Apple subsides. It’s a stop gap of sorts, albeit one that might provide a rudimentary shield against the inevitable performance slump that will come once Apple’s anti-app tracking plan starts. 

“Because there are a lot of unknowns around the impact of Apple’s move, some marketers are allocating budgets to places where they have more control over measurement i.e Android,” said Ido Raz, president and founder of ad tech vendor Bigabid. “It’s more like budgets are leaning more toward Android.”

Regardless, the amount of money moving away from iOS so far has been enough to have ruffled some publishers

“This immediately converts into an eCPM deflation for publishers, which in turn led to deemphasize their iOS investments,” said Serra. “Thus, publishers that used to be iOS-first are starting to reevaluate the importance of their Android apps, even in markets like the U.S. [that] is historically iOS heavy.” 

Some marketers have a more pragmatic view of the situation. Moving money between iOS and Android devices isn’t a zero-sum game in their eyes. The audiences between both platforms are too distinct from one another. So those marketers plan to maintain spending on Apple devices until the IDFA starts to dwindle. It’s just too early to do anything else. 

“From what we’ve seen, demand-side platforms are not pulling budgets away from iOS,” said a spokesperson for app monetization company Fyber. “Following IDFA deprecation, marketers may slow down spend on iOS initially — but will ramp back up using privacy-friendly contextual targeting.”

The rationale being that they can use the remaining weeks to test and learn.

Take Limit Ad Tracking (LAT). The feature lets iOS users opt out of targeted advertising similarly to how Apple’s upcoming privacy push works. So much so that some marketers are running campaigns targeted to those people who have enabled the feature. Doing so, gives them a chance to see how mobile ads performs on the back of non-personalized traffic. 

“Looking at preparation efforts, some DSPs have invested heavily in adapting to the new reality and making the transition to successfully run campaigns on IDFA-less (LAT) inventory, while others are lagging behind and some are still completely ignoring this inventory,” said the spokesperson from Fyber. “As the share of IDFA-less (LAT) inventory grows, companies who did not make the technological adjustments will have to shift focus to sources where users are still largely identifiable.”

Of course, these plans will likely change once Apple’s shift starts. Until then, however, advertisers will try to do what’s best for them.

“Marketers must ask themselves whether they’re happy with that first campaign report without Apple’s IDFA going to senior business executives,” said Canton Marketing Solutions founder Nick King. “For some brands, that report could say sales are down as much as 50% — Marketers will need to be able to say they have a plan.”

The post ‘So much uncertainty’: Media dollars see-saw between Apple iOS and Google Android devices ahead of IDFA appeared first on Digiday.

Marketers prepare for hybrid future of in-person and remote collaboration

More and more marketing bosses are envisioning the office of the future — not so much as a place to sit and work, but as a space for collaboration.

It’s a trend that’s burgeoned as a result of the increased demand to continue working from home past the pandemic, which has led many businesses to adopt a hybrid 3:2 working model.

“Even though a large portion of employees may remain virtual, they’ll still need to come into the office for training and to collaborate,” said Michael McDaniel, VP and general manager of the Modern Workplace unit at Tysons, B2B IT services company DXC Technology, who shared that collaboration and flexibility are among the leading factors driving the IT business currently. 

But the return of in-person business hardly means the end of technology as a collaboration tool especially as companies continue to expand their offerings in this space, such as Microsoft Hub Room and Cisco Collaboration Room.

He noted that 15% of his clients used the virtual meeting software Microsoft Teams a year ago; now it’s greater than 80%. And Microsoft continues to remake our work lives. In early February, it unveiled Viva, an employee experience platform, to help motivate employees.

Marketing executives are busy preparing for this new, hybrid world of in-person and remote collaboration post-pandemic. 

Barry Lowenthal, CEO of the New York-based media agency Media Kitchen, with clients including Victoria’s Secret and Loews Hotels, sees emerging technologies as fostering the ease of working together. “All these technologies, from video to chat to better cloud-sharing tools, have just brought us closer together and allowed us to successfully service our clients and pitch new business,” he said.

Aside from helping along business through the pandemic, he expects them to continue to be a vital part of the business. “They are all going to become standard tools,” he said. “Anything that improves service and employee quality of life becomes standard.”

Even before the pandemic, B-Reel, a Stockholm-based creative agency, did a large amount of work for clients, which include H&M and Hyundai, on platforms such as Slack, Figma and Google Workspace, said Petter Westlund, co-founder and executive creative director of products and services at the company. “It just feels like we’ve evolved to more of a shared sense of remote work etiquette than we’ve had before,” he said. “Everybody has to invest in making collaboration work.”

While he believes virtual working is here to stay, Westlund is among those who look forward to a return to the physical headquarters. “The flexibility is great, but it also makes you appreciate the quality of interaction you get from being in person, and that there are benefits from the ritual of going to work and having a shared space with your colleagues, and clear boundaries between work time and free time,” he said.

Westlund envisions technology will help employers with not just collaboration, but other elements of the business, and in everyday life. “This is just the beginning,” he added.

Joshua Evan Greenberg, managing director at the Los Angeles creative studio Caveat, which has worked on campaigns for Amazon and Nike, points to the importance of a platform that’s become integral to many lives over the past year. He said around 20% of his company’s client communication and as much as 90% of internal communication are now happening by way of Slack, including communication between its live-action production teams.

The service has led to transparency as well as streamlined and expedited communication between its clients and creatives. The studio was able, for example, to seamlessly film a massive celebrity campaign for the new $6 billion SoFi Stadium in Inglewood, California, during the height of the pandemic because its comms infrastructure enabled it to spend more time doing the actual work and less time talking about it. It also provided clients with the access and information they needed to work more confidently within their organizations. 

Caveat also implemented Frame.io as its cloud-based collaboration platform for post-production, allowing the studio to quickly provide feedback on work, optimize communication between creatives, project managers and clients and reduce oversight.

“We’re constantly looking for ways to leverage technology to eliminate waste, and to improve the quality of our work and the quality of our work lives,” Greenberg said. Benefits include the ability to maintain a smaller staff, reduce unnecessary communications, eliminate redundancies in task management, and increase productivity and human resources, he added. 

As breakthrough as these tech advances have been, Greenberg is also mindful of the need to not rely too heavily on them. 

One of the best parts of working in the creative industry is collaborating with like-minded individuals, he said. “If we forget to leverage video conferencing or schedule virtual brainstorming and ideating sessions, then individuals can begin to feel like they’re part of an assembly line. In these cases, the technology can work against employee or team morale,” he added.

The challenge, as ever, is balancing human and machine. As Greenberg put it: “We’re working hard to avoid mechanistic dehumanization.”

The post Marketers prepare for hybrid future of in-person and remote collaboration appeared first on Digiday.

Context and environment are driving success for video pre-roll ads

Hilary Pollack, research manager, Twitter

Good storytellers know that context matters. But did you know that applies to your ads as well? We partnered with MAGNA and IPG Media Lab to measure the impact of context, specifically content adjacency and user experience, on ad perception and performance. We wanted to understand if premium publisher content and an in-feed environment, both cornerstones of our Twitter Amplify Pre-roll solution, impacted ad effectiveness.

Here’s what we learned to help marketers spend smarter.

In premium content we trust

When it comes to advertising, trust is essential. And according to our study, when it comes to trust, not all content is created equal.

In the study, we found that premium content is seen as 14% more trustworthy than non-premium content. And trust us when we say trust matters: When controlling for all other variables to understand how individual content perceptions drive brand metrics, we found that high trust in content leads to a 10% increase in brand favorability and a 12% increase in purchase intent. We call this the “premium content halo.”

In-feed, indeed

There’s a second part of the equation that drives the impact of your pre-roll ads, and that’s the environment in which it’s consumed. Our study found that people feel less friction when watching pre-roll ads that appear in an in-feed environment like Twitter compared to non-feed platforms. And the ads themselves feel more relevant, too. In fact, just like trusted premium content, placing your pre-roll in an in-feed environment boosts brand metrics like favorability and purchase intent.

The numbers don’t lie; pre-roll ads in an in-feed environment drive 2.2X brand favorability and 1.6X purchase intent compared to the same pre-roll ads on a non-feed platform.

The best bang for your buck

We know marketers are on the hook for making sure their ad spend goes the distance.

“As digital video ad spend continues to rise, leading to a projected cost of $26.6 billion by 2025, it is crucial for marketers to understand how to enable deeper connections between people and the things that they love and care about,” says Stephanie Prager, Twitter’s head of global business partners.

Our research shows that in-feed pre-roll ads adjacent to premium content, like our Twitter Amplify ad solutions, actually drive cost efficiencies against some of the most important brand metrics.

In fact, our study found that pre-roll on premium content in Twitter’s in-feed environment provides an outsized return on a marketer’s budget: Compared to non-feed pre-roll, in-feed pre-roll was found to be 2.3X more cost-effective in driving favorability and 1.7X more cost-effective in driving purchase intent.

It’s not enough for marketers to simply create good ads; they also need to consider the context in which their ads are consumed. A few key decisions, such as placing your pre-roll in an in-feed environment adjacent to premium content, can make those precious few seconds go a long way for your brand’s bottom line.

The article ‘Study: For video pre-roll, context matters’ first appeared on Marketing.Twitter.com

Sources:
●  Magna & Twitter, The Value of Premium, USA, September 2020

The post Context and environment are driving success for video pre-roll ads appeared first on Digiday.

Finnish Ad Says Your Thumbs (Probably) Scroll 9 Kilometers a Year and Could Use a Break

Your thumbs probably need a break. Hell, you might even be reading this article on your phone–letting your thumbs do all the scrolling work–but have you ever paused to think how they feel? A new ad TV, digital and social campaign from Finnish energy saving app V?ppi reimagines thumbs as conscious beings that want to…

Why Burger King France Handed Out a Free Bag of Potatoes to Every Customer Who Wanted One

The pandemic has fundamentally changed our consumption habits and, with many restaurants closed for dining in, suppliers around the world are feeling the pinch as their usual customer base shrinks. To help farmers in France, Burger King snapped up an extra 200 tons of potatoes that otherwise would not have been sold. But what was…

Mike’s Hard Lemonade Dug Up ‘Unreleased Footage’ of the Texas Cat Lawyer

Can’t get enough of the memetastic cat lawyer? You’re in luck because there’s “unreleased footage” from last week’s virtual court hearing where Texas attorney Rod Ponton was stuck inside an adorable kitten filter. The new video shows Ponton alone on Zoom, struggling to be a consummate purr-fessional. He still hasn’t managed to turn off the…

Ad-Lib.io Expands Series A Financing To $12 Million

Ad-Lib.io, a company founded by a group of former Google execs in 2017 and which offers creative workflow tools, has clinched an additional $6 million in Series A financing. The latest round brings its total funding to $12 million in less than two years and will be used to accelerate the growth of the London-basedContinue reading »

The post Ad-Lib.io Expands Series A Financing To $12 Million appeared first on AdExchanger.