Less BS, More Facts, Some Opinions
Even opponents of Chrome’s third-party cookie deprecation plan mostly agree that Google intends to follow through this time. Which means that, by this time next year, advertisers will need to have already put their post-cookie campaign strategies in place. Question is: Did advertisers and ad tech companies use the extra time they had thanks to […]
The post If 2023 Was The Last Year Of Third-Party Cookies, Did Programmatic Make The Most Of It? appeared first on AdExchanger.
The streaming war has given way to the short-form fight. Three years after TikTok’s popularity triggered Instagram and YouTube to follow suit with Reels and Shorts respectively, the three short-form vertical video platforms — plus the format’s pioneer, Snapchat — continue to duke it out for audiences’ attentions and creators’ content.
All four platforms enjoy a level of popularity among audiences and creators. A recent Pew Research survey of U.S. teenagers found that a majority use each of the platforms (though it didn’t ask about Reels and Shorts specifically). But how do creators feel?
To answer that, Digiday asked several creators: If, as a creator, you could only use one short-form vertical video platform among Instagram Reels, Snapchat, TikTok and YouTube Shorts, which would you pick?
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At this point, creators and influencers have gone from a nicety to a budget line item for marketers, booming the creator economy to become a multi-billion dollar industry. For the last few years, platforms like YouTube, TikTok, Instagram and even Snapchat have rolled out the red carpet to creators by way of creator programs, funds and other ad revenue sharing opportunities.
The recent reality has been more lackluster than originally thought, according to 12 creators Digiday spoke with for this article. Meager ad sharing payouts, arbitrary posting requirements and termination of multiple platform-led creator programs has left creators questioning their relationship with major social media platforms and looking to be less reliant on monetization via the platforms themselves.
“I view it as gas money,” said Jack Appleby, part time content creator and creator consultant. “If you’re a creator and you hope the [social media] networks will pay you, it’s a fool’s errand. You need to go to the brand deals yourself.”
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In a volatile advertising market, publishers’ sales teams need to be nimble, innovative and ambitious to keep RFP win rates up and ultimately keep ad revenue coming in the door. And given how fierce the competition has grown for brand deals, the old methods for selling media may be too antiquated to keep up with the demands of advertisers and agencies.
Over the past couple of years, chief revenue officers have shared how they’re reshaping their sales divisions to respond to this modern, if not tumultuous, ad market. From implementing generative AI tools into the workflow to adding seller incentives to taking a categorical approach versus a brand approach for client management, here is a mock-up of what a modern media company’s sales organization looks like based on some relatively recent shifts that publisher sales teams have undergone.
There’s been a steady movement from sales teams being brand-centric to being assigned to sell a specific advertising category where all of the clients a seller has fall under one sector like pharma, beauty or tech. And it makes sense for digital publishers that spent the better part of the past decade attempting to compete with platforms when it comes to advertisers’ scaled campaign budgets. Instead of showing a client a niche brand, sell them the whole portfolio.
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