AlmapBBDO Challenges for Free To Air TV 2013 final 11 12-13


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AlmapBBDO Challenges for Free To Air TV 2013 final 11 12-13

  1. 1. Televisión Abierta y Oportunidades Comerciales Multiplataforma Brian Crotty - Director de Medios 26-11-13
  2. 2. Business is challenging for us all Media Planning has changed – less reliance on TV Other video distribution forms slowly gaining traction Connected TV´s and Smartphones are disruptive Although TV is still dominant Trading desks and Data Tools changing the way media is bought Ratings models being challenged Beware the Middlemen Data changing everything –segmentation at scale Content Management Tools allowing adaptive learning Content Brands – distributed across channels and forms Branded content types Online providing more varied tactics Relative Value Traditional product placement Emerging Options Outstanding Ideas
  3. 3. Advertising v2013 - Issues Creative Agencies Remuneration that doesn´t value ideas Verticalisation of disciplines Creating engaging content Media Agencies Clients Fee structures New revenue streams Contractural KPI´s Audits Identity crisis – trying to cover message planning & Content Predictable ratings Tech Investment Meeting expectations Productivity and efficiencies Capable partners In-house vs outsourced Losing valuable customer data / leads to competitors Global Management Building capabilities Full Service Agencies Contractural islands Integrated model Content Producers / Vehicles Time spent reducing Fragmenting audiences Time shifting On Demand Ad Break audiences Online Video Middlemen Measurement methodology consistency Data ownerships
  4. 4. Differing POV´s but we want the same thing Build engagement and loyalty to repeat content consumption Aggregate audience to monetise Build engagement and loyalty to drive demand and purchase Aggregate and influence audience
  5. 5. Reach Channels for tasks Build Awareness Sustaining / Continuity Images Interactive Off PeakTV Cable TV TV Bursts Cable TV Newspaper Magazine OOH Magazine OOH Magazine Packaging Web Campaigns Video Prime Time TV Cable TV Web Site Web Site
  6. 6. Reach Surgical use of Prime Time TV + Persistent presence Build Awareness Persistent environments Video Prime Time TV Cable TV Online Video Off PeakTV Cable TV Online Video POS Video Online Video Magazine Images Newspaper Magazine OOH POS Packaging Interactive Owned Assets (Sites, POS etc) Social Owned Assets Search Owned assets Services Apps, Social Search
  7. 7. Bar - TRP´s Per Week Area – Adstock AB258-49 Single currency for video – TRP´s, R&F, CPM
  8. 8. Optimising Mix To Get Most Efficient Buy <- $50-$75 -> <- $15-$50 -> <- $15-$50 -> Video buys accross channels
  9. 9. Video buys across channels – Audience targetted online can reduce excessive frequency against heavy viewers $10-$50 -> <- $50-$75 -> <- $15-$50 -> <- $15-$50 ->
  10. 10. More competitors for entertainment share of wallet / time
  11. 11. Poliferation of devices and places to access content
  12. 12. Connected TVs: Ownership Still Low but growing Smart TV ownership is high around the world and is expected to increase through 2016 NORTH AMERICA EUROPE ASIA-PACIFIC LATIN AMERICA 2013 51MM 55MM 151MM 9K 2014 65MM 70MM 196MM* 2MM 2015 78MM 85MM 254MM* 5MM 2016 87MM 95MM 331MM 8MM Source: eMarketer, 2012 *Average projection of 2.3% average yearly growth
  13. 13. Biggest disruptor - Smartphone penetration growing Latam – 140 Million smartphones by end of 2013 Brazil – Base of 40 Million Smartphones in 2012. + Samsung alone expect to sell 17Million in 2013 / Total market 21.4Million Mexico – 12.2Million in 2012, 16Million in 2013 Argentina – 5.9Million in 2012 Wifi penetration improving, but affecting more affluent – those than can afford data packages
  14. 14. What people are doing with their Smartphones
  15. 15. Simultaneously doing other things while using Smartphones
  16. 16. Despite all the hype – Time spent with other devices still relatively low 12% 11% 6% 4% 4% 63% TV ABERTA PAY TV RADIO REVISTA JORNAL INTERNET Source: AlmapBBDO: Brazil September 2013
  17. 17. Share of Time vs Share of Investment – TV still dominates 12% 11% 4% 1% 0.44% 28% 49% 6% 4% 4% 16% 63% TV ABERTA PAY TV RADIO REVISTA JORNAL INTERNET Source: AlmapBBDO / Intermeios: Brazil September 2013
  18. 18. TV Dying? More Alive Than Ever AUGUST 21, 2013 Here are some facts from Nielsen's Cross-Platform Report for the 1st quarter of 2013: • The average American spent about six times more time watching live TV than on the web. • 97% of all video was viewed on a television. Less than 3% was viewed online. • About 1/2 of 1% of video viewing was done on a mobile phone. • Average live TV viewing increased by more than 1.5 hours a month compared to last year. • 92% of TV viewing was done live. 8% was timeshifted (DVR.) • TV viewing remains at record high levels.
  19. 19. TV is still the most common way to find TV content
  20. 20. Multitasking not disruptive
  21. 21. Multitasking is social – People stay in front of TV Key findings were that multi-screening means people are more likely to stay seated through an ad break and therefore increases ad exposure, and that people have always multi-tasked whilst watching TV, having conversations, interacting with children and animals, reading magazines and engaging in hobbies. It was found that except for having a conversation, orientation towards the TV was maintained through various multi-tasking and -screening behaviour. Additionally, multi-screening may enhance enjoyment of television as devices allow for greater engagement in the program. Source: WARC - Multi-screen viewing behaviour, Dr Ali Goode and Neil Mortensen, Lingua Brand and Thinkbox
  22. 22. Twitter drives Audience and Stakeholder engagement MEDIA AND ENTERTAINMENT| 06.05.2013 Over the last six years, TV networks’ Twitter accounts have gone from being little more than promotional outlets for tune-in messaging to real-time channels for networks and advertisers to Interact with highly engaged audiences. Evan Silverman, SVP, digital media for A&E networks, says that advancements in social TV analytics are giving the industry a way to measure the total size of the social TV audience—both those participating in the conversation and those who watch on the sidelines. And these analytics are making the social TV opportunity real and measurable for advertisers. At Nielsen’s Consumer 360 conference in Phoenix, Silverman discussed how A&E was able to drive audience engagement for the hit show “Project Runway,” which runs on its subsidiary Lifetime network, through strategic Twitter TV initiatives. When “Project Runway” launched a “Fan Favorite” social campaign, encouraging viewers to vote for designers by using custom hashtags, the initiative resulted in nearly five comments per unique user—more than the ratio for any other cable TV show at the time. A&E believes that there should be a premium charge for programming with high social engagement, Silverman said. “The most important thing we all do is to generate a linear rating for our company. However, social TV is extremely valuable in its own right and absolutely helps amplify the conversation, helps sponsors participate in programming,” he said. Dedicated Twitter accounts are a relatively new industry practice: They became a mainstream in 2007, just a year after the first tweet was sent in 2006. Last year, social TV took a big leap forward when Twitter launched Twitter Cards, which enabled partners to create interactive experiences within tweets. Looking at the results of a new SocialGuide study, viewers spend the majority of their Tweets during program time rather than during commercial time. The study also found that the share of Tweets sent during commercial time was driven across genres by the share of commercial time within a program’s airtime. In sports, for example, commercials ran during 24 percent of airtime, and 25 percent of Tweets were sent during commercial time.
  23. 23. Miley Cyrus VMA – Social Analytics – Valuable Insights Miley Cyrus and Robin Thicke perform at the 2013 MTV VMAs As a brand that has long had event sponsorship at the heart of its marketing formula, Pepsi sought a more scientific way to study the correlation between TV viewing and second-screen usage during live programming. So using research methods such as biometrics, the brand looked at consumer behavior during the MTV Video Music Awards telecast this past August—the top-rated entertainment program on cable among viewers aged 12-34 this year, and the most social non-sports TV event. What emerged were some surprising differences in media usage among millennials. During pivotal moments of the show—like Miley Cyrus’ twerk-tastic duet with Robin Thicke (which generated a record 360,000 tweets per minute)—consumers 18-26 immediately shifted from TV viewing to second screens. Meanwhile, those aged 27-34 stayed with the telecast, waiting to engage in social conversations. “The younger group already had their hands ready and immediately went to social media to start talking,” said Chad Stubbs, senior director of marketing at PepsiCo. “The show ebbed and flowed, and a key thing we learned was having a brand message throughout the show was important,” he added. “In the past, maybe we said we would need a big part at the beginning or the end.” Carolyn Kim, associate director of business intelligence at Pepsi agency OMD, pointed out that while there is not a wide disp arity of ages among the millennial set, continual advances in technology have led to behavioral differences among those consumers. Consider this: When email became widely available in 1993, older millennials were 11 years old—but younger millennials were just 2 years old. “Those younger viewers really grew up more with technology as an ordinary part of their everyday lives,” Kim said. During the VMAs, Facebook was the most popular social media brand, accounting for 41 percent of consumer usage, followed by Twitter with 32 percent. And while Cyrus’ antics burned up Twitter, performances by Justin Timberlake and Katy Perry had fans taking to Facebook to discuss. Stubbs said he thinks there was a good balance between the brand’s TV and online investment during the VMAs. But he would consider devoting more resources to monitoring social activity. He imagines a focus group that might include a comic, an industry insider, and key millennials and influencers in order to explore ways that the brand might respond to ultimate fans. “We know live TV is a place we need to be—it’s still incredible appointment viewing,” he said. “But it’s not enough for an advertiser to show up with a beautiful ad and wait for everyone to come to it.”
  24. 24. Business is challenging for us all Media Planning has changed – less reliance on TV Other video distribution forms slowly gaining traction Connected TV´s and Smartphones are disruptive Although TV is still dominant Trading desks and Data Tools changing the way media is bought Ratings models being challenged Beware the Middlemen Data changing everything –segmentation at scale Content Management Tools allowing adaptive learning Content Brands – distributed across channels and forms Branded content types Online providing more varied tactics Relative Value Traditional product placement Emerging Options Outstanding Ideas
  25. 25. How to optimise perishable inventory and the rise of Agency Trading Desks Technology Driven buying tools • Programatic Buying • Real Time Bidding Systems • Data Management Platforms • Content management Systems Challenge to optimise yield without destroying value
  26. 26. Measurement Methodologies under scrutiny Gross Rating Points (GRPs) Target Rating Point (TRPs) Online Impressions Online Targeted Impressions Online GRP (iGRP) True View Value Points Reach Targeted Reach Reach Targeted Reach Reach Actual Reach Impact of Reach Device Limitations Infancy Stage Due to Cross Media Measurement Limitations Panel Limitations, No Exposure Guarantee Device Limitations, No Visibility Guarantee
  27. 27. Trading Desks - Treading Carefully Beyond Online GroupM Trading Desk Unveils Programmatic TV Audience Buying, Claims Xaxis TV First To 'Sync' Digital Campaigns With TV Ads Interpublic Strikes Deals Automating Buys With 5 Media Giants: Covers TV, Radio, Outdoor, Display, Video, Mobile Global Ad Buys Might Finally Become a Reality - Marketing across borders by Joe Mandese, Sep 9, 2013, 8:55 AM Editor’s Note: The original version story incorrectly implied that Xaxis TV would facilitate programmatic audience buys of television inventory, when in fact, it will only utilize TV-like metrics to target audience-buying in “broadcast-quality” inventory online. Moreover, ABC has not agreed to incorporate TV or video inventory as part of its agreement with Xaxis, just static online display ads. For more about how Xaxis TV actually works, read an interview with Xaxis’ Brian Gleason in RTBlog. GroupM’s Xaxis unit, the largest of Madison Avenue’s so-called trading desks, this morning unveiled its push into programmatic television audience-buying with a new platform dubbed Xaxis TV. The move comes as others, including Interpublic’s Mediabrands, a spate of online video ad networks, and targeted and addressable TV infrastructure players such as Visible World and Invidi, have begun accelerating the development of programmatic exchanges for buying and selling TV audiences that are akin to online’s. Xaxis TV, along with a second new platform called Xaxis Brand Suite, is part of an ongoing push by Xaxis, “the world’s largest audience buying company,” into traditional media. It previously developed audience-buying exchanges covering out-of-home, radio and conventional online video, and now it’s extending its reach into television. Significantly, Xaxis claims to have already gained access to “premium inventory” from dozens of top “broadcast-quality media owners” as part of its foray into programmatic TV by Joe Mandese, Aug 20, 2013, 8:14 AM On the heels of last week’s deal naming its primary automation platform for targeting and buying TV and video inventory, Interpublic this morning unveiled a spate of similar deals to automate its transactions with five big media suppliers traversing TV, radio, out-of-home, mobile and online video and display. Details about how the deals would be structured and how they would work were not disclosed, but Interpublic said it now has agreements with TV programmer A&E Networks, cable operator Cablevision, out-of-home and radio operator Clear Channel, local broadcaster Tribune and online portal AOL, which is in the process of acquiring, to supply assets “not previously available through automated buying systems.” The initiative, which was developed by Interpublic’s Mediabrands unit, is dubbed the Magna Consortium, and is part of the agency holding company’s mission to automate 50% of its media-buying by 2016. Interpublic has said it is making the push for several reasons, including both greater operating efficiency for its agencies and its clients as media-buying becomes hyperfragmented and hyper-complex, as well as greater precision in targeting audiences it says will result by shifting from conventional audience-buying data (ie. Nielsen ratings, GRPs, etc.) to estimates that co-mingle so-called first- and second-party sources of data in a By Lucia Moses August 18, 2013, 10:26 PM EDT When the holding companiesPublicis and Omnicom announced last month they were joining forces to form the world’s largest ad agency group, they called it “a new company for a new world.” Other, hyperbolic terms used to describe the mega merger included “stunning,” “seismic,” “a superstructure”—and that was just our own reporting. In reality, the concept of global marketing is not so earthshattering. It’s been around since the first merchant went to sell his goods abroad. Yet on a larger scale, global marketing has been much more challenging—borders have proven to be barriers. And yet, OmniPubis just the latest evidence that the global media buy may be becoming more of a reality. “We can now reach consumers globally and get feedback globally,” IAB president and CEO Randall Rothenberg points out. “Now, fact meets a 30-year-old theory,” he says, referring to the rise of the idea in the ’80s that in the age of the multinational corporation and the homogenized consumer, marketers could (cheaply) sell the world the same product with the same message—an idea that would prove easier said than done. Marketers would come to realize the monolithic global consumer segment had its limits, as brands found that translating ad campaigns into other cultures required more local understanding than they had anticipated. And
  28. 28. Segmented Audience At Scale – Reducing Wastage Existing Market Map (Customer Profiles, Media habits) + A) Predetermined Segments Retargetting (Multiple Impacts across portals) Market Data on: In Market Buyers, Shoppers, Demographic, Behavioural Filters      Current Customers / Prospects Tag / Cookie online environments Look Alike Expansion (People with similar profiles)    B) Sample of Engaged Prospesct / Customers Customers that are going to online environments X1 X3 X6 X10
  29. 29. Content production quality – Broadcast quality not always needed Richer content form the better Bandwidth no longer an issue More relevant – lower quality expectation Production costs reducing to enable lower cost segmented content Timeliness – time sensitive content vs evergreen First 5 seconds essential
  30. 30. Integrating Segmented Marketing to drive performance Mass Content Mass Exposure Based (Geographic, Demographic) Most Practical Test & Learn Mass Ideal A Balance Audience Segmented Audience Inefficient Addressable Performance based (Geographic, Demographic Behavioural, Consumption) Segmented Content
  31. 31. Digital Darwinism.....make assumptions.. Set multiple options in play….strongest strategy survives Set assumptions in play Eliminate weakest Learn, adapt to introduce new options Eliminate weakest ... Constantly monitor to optimise
  32. 32. Dynamic Creative Optimization Variants: Ad size Color Product Message Call to action Price Social features Site context - Location - Behavioral User demo - Client data - Retargeting
  33. 33. Opt In Video – First 5 seconds crucial (To avoid skipping)
  34. 34. Trading Desks - Arbitrage and margins
  35. 35. Protecting your content from middlemen PORTABLE DEVICES One of the advantages of the Brazilian digital TV is mobility. You can watch digital TV through mobile devices such as mobile phones with digital TV, mini-TVs, laptops and other devices with screens smaller than televisions. Whether you're in a car, bus, train or on foot: the image is always of excellent quality.
  36. 36. Protect your customer data
  37. 37. Content Brands / Mastheads / Franchises – Distributed across content forms and channels
  38. 38. Film Marketing: Excellent example of Multiplatform content WOM 1. Each Film is a business in itself 2. The stakeholder are the business owners 3. Core idea focus (Start from the centre out) 4. Core idea scenario testing 5. Process leader / director 6. Consistent branding across all touch / brand experience points 7. Clearly aligned process (across multiple specialist suppliers) 8. Content planning (clear / efficient development plan before channel selection) 9. Source of innovation based on ROI 10. Balance of short term and long term brand needs Transalation casting Casting competitions Promotions Trailer Posters Merchandising PR Film Wallpapers TV ads Ringtones Print ads Soundtracks Star tours Winks Directors cuts Blogs User generated Digital Commentaries Games Making of Samples
  39. 39. Business is challenging for us all Media Planning has changed – less reliance on TV Other video distribution forms slowly gaining traction Connected TV´s and Smartphones are disruptive Although TV is still dominant Trading desks and Data Tools changing the way media is bought Ratings models being challenged Beware the Middlemen Data changing everything –segmentation at scale Content Management Tools allowing adaptive learning Content Brands – distributed across channels and forms Branded content types Online providing more varied tactics Relative Value Traditional product placement Emerging Options Outstanding Ideas
  40. 40. Traditional
  41. 41. Contagious Magazine Branded Content Segmentation Leveraged Sponsored Leveraged This applies to classic product placement, where a brand gets value from being inserted into a content property. For example: Coca Cola on The X Factor (US) Sponsored This is when a brand supports a property, and gains endorsement through content: from sports teams, to events to personalities For examples: T-Mobile and Katy Perry Partnered Partnered This is when a brand collaborates in the development of a content property and shares production, promotion and distribution Eg: IBM and Watson – Jeopardy Originated User-Centred Originated This is where the brand acts alone to create content – and often involves it managing distribution alone For Example: Gatorade Replay User Centred We’re seeing an increasing number of brands using technology to create content that centres around data and actions from the user For Example: Intel, Museum of Me, Lynx
  42. 42. Contagious Magazine Branded Content Segmentation Benefits Weaknesses Product placement leverages a content partner’s mass audience Places product within a core part of the story that reflects usage Brand can leverage the equity of celebrities within the content who may be seen to endorse the brand Reach and frequency prioritised over engagement: what effect beyond awareness does the strategy offer? Increasingly cynical and astute consumer culture can easily spot product placement, which erodes the value of its placement It’s hard to make a meaningful connection to the audience, and usually fails to ‘add value’ for the user, or viewer / audience Sponsored Astute brands that develop content through sponsorship find new ways to connect fans of a property to their passion Brand should play a meaningful role in supporting the delivery of the content, and enhance the experience of engaging it Whilst sponsored branded content offers brands a chance to present and distribute content, there may not necessarily be integral to the story of the content itself Sponsored branded content can therefore often be guilty of simply ‘labelling’ or badging content Partnered Spirit of collaboration between parties offers opportunities to be more creative with the content created: it should be something unique Partnership approach should offer opportunities for the brand to play a more relevant role in the story of the content, and therefore be more engaging Much riskier strategy: neither party may be an established content property in their own right Collaborating parties therefore need to ensure they are creating an experience that is relevant and engaging enough to compete with and stand up against more traditional content Originated Originated content offers a brand more control and creative license over what it creates and how it is distributed Best originated content creates valuable conversations around the brand or product, and helps the brand to better explore and explain itself through storytelling Brand may lack the skills to fully develop stand-alone content Increased risk of either product being too ‘front and centre’, or its presence too subtle to generate any sense of meaning or role Some brands miss that the most interesting thing about originated content will be the conversations around it – listen, contribute and engage User-Centred People innately respond to technology when it reflects their lives back to them in new ways Whilst these are individual experiences, people love to share and distribute them to each other Data exchange: content is driven through data provision from participant and brand should use this wisely Privacy and data concerns: many consumers are weary of relinquishing personal data Current limitations to generating this type of content mean that a lot of the examples are similar – but this should quickly evolve to help brands create more differentiated experiences Leveraged
  43. 43. Emerging
  44. 44. Google Segmentation of content types
  45. 45. Google Segmentation of content types
  46. 46. Relative Value
  47. 47. Traditional
  48. 48. AXN: The Firm Virtual Billboards
  49. 49. AXN: Hannibal Virtual Product Placement
  50. 50. CQC - Pepsi • All vignettes are original from the TV Show production and part of the context • The content of the show is audacious and witty, aligned with the brand essence • The sponsorship lasts longer then the buy, generating lots of productivity • Alignment with target audience • Weekly show guarantees constant awareness generation
  51. 51. Syndicated
  52. 52. Football DSDS – SBT/Fremantle Reality Show Reality Show “Menino de Ouro” Thousands of boys in Brazil want to be a football star, and this Reality Show, Menino de Ouro, selected 22 boys (13 to 15 years old) among 10,000 candidates, who will run several eliminating football competition tasks along the program, and only one will become the winner after 12 episodes (March 24th to June 9th 2013), becoming “O Cara”, to be hired by a big football team in the city of São Paulo. All Day Average Audience Participation % Source: Ibope Media Workstation – Broadcast TV Nationwide Period: 28/01 to 03/02 of 2013 / Target: Brazilian Households SBT is the second biggest Broadcast TV Network in Brazil in terms of audience share considering total territory Media Delivery & Investment 504 inserts of 5” Vignettes opening and closing the program, and split all over the network programming 581 30” spots inside the program breaks and all over the network programming VW Logo along the Football Arena Billboards Total delivery of 1,114 GRPs weighted in Both AB 18+ during 2013 CPP of R$ 7,450.00 (around 55% less than usual VW BTV CPP) Investment = R$ 8,3 Million in ‘13 (+18% Vs. VW ‘12 SBT media spend) Special Projects Besides the regular media delivery, VW special media proprieties below: •Team Captain Task: each episode, the winner of this task will be nominated as “O Cara” and will receive a VW Clamp as the winner of the day; •Second Screen: along with the BTV programming, exclusive VW digital content and promotion, will engage the audience and create interactions, asking for tips about who will be “O Cara” of the that episode; •Exclusive VW Content: in every final episode, the boys have to go home and return to the Reality Show in the other day, so, VW will transport them using VW Cars, while interviewing the boys to hear about their dreams, idols, real life and all that inspire to become “O Cara” (Exposition in BTV + VW Digital Platforms as YT + FB) Criteria: weighted 5” using index of 0,375 Media delivery considering also regular media along 2013 negotiated along with the media package
  53. 53. RBS - Peneirinha Gillette 2012
  54. 54. Emerging
  55. 55. Shazam – Like a QR code for Audio Fiat debut campaign with Shazam Platform allows consumers to synchronize campaign through audio and gain access to extra content NATHALIE URSINI | » October 22 , 2013 Fiat is Brazil's first advertiser to try the new features of Shazam . The campaign will debut in Shazam for TV , was to launch the new Strada 2014 which has squashed in music and mood communication. The campaign premiered on television last weekend and has creation of Fiat Agency , which includes professionals Leo Burnett Tailor Made and AgênciaClick Isobar . A parody of the song Mary, who gained notoriety in the voice and swagger of Ricky Martin, who leads the film presents the main new features of the car: higher volume in the hopper , new design and the third door. The campaign films for television , internet and radio spots .
  56. 56. Shazam links second screen to TV. 2 1 Master is Aired, Signal is Broadcast Digital signal (Watermark) is embedded in the master 3 4 Mobile App listens, Recognizes signal (ACR) Signal triggers events inside the app
  57. 57. AXN: Hannibal Second Screen & Social– Empowering evangelizers / Hannibal Fannibals A multi-platform companion viewing application that syncs to each episode as it airs, revealing content that provides depth to each episode and teases out upcoming storylines. Created incredible Fan Art that was shared online around the world. Organized a campaign to renew the series, urging fans across social media networks, and related fan communities to tune-in! Images from the Hannibal Tumblr page
  58. 58. Outstanding Stories
  59. 59. SingTel – Hawker Heroes
  60. 60. Mr. Bauducco - Globo 6pm Novella We closed an unprecedented project with Globo to create a character in the novella Joia Rara. Being a period novella, which portrays the culture of the country and of other nationalities, including Italians, we took the opportunity to tell the story of the arrival of Panettone in Brazil, introducing Mr. Bauducco in the plot.
  61. 61. Business is challenging for us all Media Planning has changed – less reliance on TV Other video distribution forms slowly gaining traction Connected TV´s and Smartphones are disruptive Although TV is still dominant Trading desks and Data Tools changing the way media is bought Ratings models being challenged Beware the Middlemen Data changing everything –segmentation at scale Content Management Tools allowing adaptive learning Content Brands – distributed across channels and forms Branded content types Online providing more varied tactics Relative Value Traditional product placement Emerging Options Outstanding Ideas