MasterCard  - Online ad builds and website development
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MasterCard - Online ad builds and website development

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A presentation outlining the online ad build process and the MasterCard website development process....

A presentation outlining the online ad build process and the MasterCard website development process.
Presented by Micah Howard of MercerBell 26-08-09

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Transcript

  • 1. The Brief
      • “ Tell us a bit about how a banner is built and how you put a website together”
  • 2. MasterCard Digital Training “ Online Ads - 101”
  • 3. Agenda
    • Sit on my space
    • How long’s a piece of string?
    • Playing Big Brother
  • 4. Sit on my space The more common formats for online ads
  • 5. Standard Banner ads
  • 6. What are they?
    • “ Display ads”, “banner ads” or “creative placements” found on the majority of web pages linking users to other websites.
    • Usually made in Flash (SWF files)
    • Usually limited to between 30Kb and 40Kb file size
    • There are many sizes but some standards:
    • 728 x 90 pixels (leaderboard)
    • 468 x 60 pixels (banner)
    • 234 x 60 pixels (half banner)
    • 300 x 250 pixels (tile / island / medium rectangle)
    • 120 x 600 pixels (skyscraper)
    • 160 x 600 pixels (wide skyscraper / vertical tower)
  • 7.  
  • 8.  
  • 9. What can they do?
    • Banners can be animated and animations can loop
    • Banners can be interactive (roll-over or click interactions)
    • Banners can read external XML files (e.g. News headlines, product prices etc.)
    • Banners can drive response but are generally more passive
    • The average click through rate for the financial sector is 0.04%*
    • Standard banners are therefore often sold on a cost per click (CPC) or cost per acquisition (CPA) basis
    • *Source – EyeBlaster 2008 report
  • 10. So why buy standard banners?
    • Relatively inexpensive, leaving more budget for media buys
    • Can be sold based on performance, helping to manage media costs
    • Relatively quick to design and build (especially if a concept already exists)
    • Wide range of formats available across websites
    • Can be made to read external information sources so can be easily updated
  • 11. Rich media ads
  • 12. How are they different to standard ads?
    • Larger file size allowance
    • Wider range of interactions available
    • Support more than just flash formats
    • A lot more “engaging” from a user perspective, helping to drive response
  • 13. What do they look like?
    • Some of the more popular formats include:
      • Expandable ads
      • Overlay / Over The Page (OTP) / Floating ads
      • Synchronized ad units
      • Video or Streaming video ads
      • Data capture ads
      • Homepage take over or Site take over
  • 14. Expandable ad http://stage.mercerbell.com.au/ourwork/content/2008/MCA071/index.html Other Examples http://creativezone.eyeblaster.com/ 1. 2. 3. 4.
  • 15. Over The Page ad (OTP or Overlay) 5. 2. 3. 4. 6. 1. Medium rectangle ad appears on page On roll-over things start to happen across a fixed area of the page More stuff happens on the page, or within the medium rectangle ad space, resulting in a call to action
  • 16. Synchronized ads (Sync ads or “Talking” ads) 1. 2. 3. 4. 5. http://stage.mercerbell.com.au/ourwork/content/2008/MCA094/index.html Other great example: http://www.bannerblog.com.au/2006/12/mini_tug.php
  • 17. Video ads
  • 18.  
  • 19. Video Egg
  • 20. Increasingly popular formats
  • 21. Rich media examples – Data capture This ad was run as an OTP. The user entered their friends’ details and that person was “called” with a message. Data captured was then added to a database for further promotions
  • 22. Widgets Video, additional navigation and social bookmarking all included in one ad
  • 23. Homepage skin
  • 24. Homepage takeover http://creativezone.eyeblaster.com/?ItemName=Jumper%20Overlay
  • 25. What else can they do? Online chat HD video Interactive games Data-driven functions (e.g. postcode locator) File upload/download
  • 26. So why buy Rich media ads?
    • More engaging, so excellent for driving direct response – CTR of 0.09% for financial sector (versus 0.02% for standard ads)*
    • Wider range of file formats and technologies can be supported (e.g. video, gaming and data capture)
    • Rich media ads are starting to replace the traditional microsite
    • *Source – EyeBlaster 2008 report
    Expandable ad 0.18% Overlay/OTP/Floating ad 2.06% Video ad 0.20% Standard banner 0.06%
  • 27. So to summarise…
    • There are several formats of standard and rich-media ad type available with more being developed every day
    • Rich media ads will cost more to develop however, campaign managers (such as Eyeblaster and DoubleClick) are continually developing tools to help reduce development costs
    • Rich media ads offer considerably more interactivity opportunities that standard ads and will return higher response rates
    • Due to their comparatively low response rates, standard ads can be purchased on a cost per response basis
  • 28. How long’s a piece of string? How the media schedule & ad specs affect the design and build process
  • 29. The build process
  • 30. Concept creation
    • The media schedule (or at least an idea of the proposed schedule) will directly impact on the concept creation process
    • Selecting a rich media campaign will offer the potential to develop a wider range of concepts
    • Publisher file-size allowance will determine concept direction and asset selection
    • Available ad formats (within a schedule) can also drive concept development…
    The affect of the media schedule on….
  • 31. http://www.bannerblog.com.au/2007/08/nt_tourism_map.php
  • 32. So…. Where possible, ensure the creative team is involved in the media planning process – a strong creative concept can often help shape the media schedule.
  • 33. Costing and timeline development
    • Multiple formats and file sizes take longer to produce
    • Individual publisher requirements (odd sizes for example) can also heavily impact on timeline, effort and cost
    • Rich media ads can take longer to develop than standard ads
    • Skill-set requirements can be different between rich media and standard ad build jobs
    • Additional producer time may be required to upload rich-media creative to ad servers
    • Additional click-tagging requirements for rich media ads can take longer to implement
    • Media agency’s lead time can be up to 10 days prior to live date
    The affect of the media schedule on….
  • 34. So…. When allocating budgets, be aware that rich media campaigns will cost more and take longer to produce. They will drive a better response though!
  • 35. Building the ads
    • Publisher permitted maximum file size will determine how the creative eventually looks
      • Use of vector images versus photo images
      • Ability to re-use assets within a banner
      • Complexity of patterns and assets
      • Nature of animations or interactions
      • For example…
    The affect of the media schedule on….
  • 36. Supplied artwork Finished ad with a 25Kb file-size allowance
  • 37. Building the ads
    • Different publishers will have different maximum flash version requirements
    • Different publishers will have their own requirements regards looping, interactions and user-initiated events
    • Publishers may also have rules for back-up GIFs* (e.g. file size limit, static only, no animation)
    • * What’s a “back-up GIF”?...
    The affect of the media schedule on….
  • 38. 99% of PCs in “Mature Markets” have a flash player installed – Millward Brown global survey 2009
  • 39. So…. Keep in mind that even the simplest concept will be affected by publisher specifications. High-res and complex images can be used but will need to be reduced in quality or modified before being featured online.
  • 40. Quick lesson on ad-serving……
  • 41. Publisher ad-servers
  • 42. www.mastercard.com.au/debit
    • Ad Server Records:
    • Creative served
    • No. of impressions served
    • Clicks generated
    • Other interactions
  • 43. Trafficking the ads
    • Rich media ads often require the creative agency to upload creative
    • Delivering finished creative to media agency often problematic as there will be several files destined for several publishers websites
    • Publishers will often change specs requirements from those provided requiring ads to be tweaked (file size, dimensions etc.)
    The affect of the media schedule on….
  • 44. So…. Even after the ads are built, there is a lot of work involved to get them up onto publisher websites, involving several parties, and despite everybody’s best efforts, ultimately, we are all at the mercy of the publishers!
  • 45. To summarise
    • Creative concepts are directly affected by the media schedule and publisher specs
    • Costs and timelines will differ between ad-build jobs based on the complexity of the media schedule and types of media selected
    • Publishers are prone to changing their specs so even handed-off creative can sometimes need re-working
  • 46. Playing Big Brother Tracking, Reporting and Optimising your campaign
  • 47. What are Ad Tags?
    • Ad serving will be charged to the media agency on a CPM (cost per thousand), CPC (cost per click) or CPI (cost per interaction) rate by the ad server
    • Ad tags are inserted into flash ads (prior to hand-off) allowing click-through to be specified and allow campaign success to be measured by tracking and reporting on the number of impressions, clicks and interactions returned by the ad
    • Corresponding “action” or “post-click” tags are often inserted into destination pages to track activity and conversions delivered by ads
  • 48. www.mastercard.com.au/debit
    • Ad Server Records:
    • Creative served
    • No. of impressions served
    • Clicks generated
    • Other interactions
    • “ Conversions”, allowing CPA measurement
    Interaction with web page recorded
  • 49. Measurement and reporting
    • Reporting configured and provided by the media agency
    • The Ad server will typically provide stats on:
      • Campaigns trafficked
      • Impressions served
      • Click through rates
      • Conversions
      • Flight comparisons (“Flight” refers to ads served in a position on publisher’s page)
      • Creative comparisons
  • 50. Campaign optimisation
    • The media agency can often specify an increase/decrease of impressions per ad type based on activity reports
    • The media agency can set the weighting of creative per flight based on performance (e.g. Click through rate) , or can request this of a publisher
    • The media agency can (sometimes) set weighting of flights across publisher pages/sites for RON (Run Of Network) ads (negotiated by publisher)
    • Additional creative can often be added to a campaign once scheduled (edited copy, new creative or updated links)
  • 51. So…
    • Request frequent updates on your campaign from your media agency
    • Optimise your campaign based on successful creative, flights and sites
    • Update creative whenever necessary to ensure relevance and maximise response
    • Always try to include conversion tracking in your campaign….where possible
  • 52. Summary
    • Several types of online ad available – budget, timeline and campaign objectives should all be considered when selecting creative media type
    • Budgets and timelines will be directly impacted by the media schedule and publisher specifications – highlighting their importance
    • Ad build process consistent for most types of ad. Alterations at any point will often have a knock-on effect
    • Campaign creative reporting is provided by your media agency for ads. Campaign effectiveness is relatively easy to track and should be requested during planning
    • Monitoring effectiveness throughout campaign should be agreed to and optimization reviews scheduled
    • Resources
    • http://creativezone.eyeblaster.com/
    • http://www.bannerblog.com.au/
  • 53. MasterCard Digital Training “ Building a MasterCard website”
  • 54. Agenda
    • Scoping the idea
    • Designing a website
    • Building
    • Implementing
    • Launching and updating your site
  • 55. So whaddya want? Scoping a project
  • 56. What is “scoping”?
    • Scoping is the process by which we examine what we are trying to achieve with a website and decide how we are going to deliver it
    • Through scoping,
      • you will determine how content will be included on your web pages
      • you will define the user-journey through your site
      • you will define how a user will interact with your site
      • you will decide upon and define the technical architecture for your site
      • you will define how much your website build will cost and how long it will take
    … ..to a degree of accuracy!
  • 57. What’s involved?
    • A number of tasks can be performed during the scoping phase of a project, producing a number of elements, including
    • Stakeholder feedback/Executive summary
    • Statement of work
    • Functional specification (often also called a Scoping Document)
    • Technical specification
    • User, Functional or Data work-flows
    • Tracking requirements
    • Site map
    • Page wireframes
    • Timeline
    • Cost estimate
    • For MasterCard projects, the functional spec will form part of the DIF to be supplied to the GTO
  • 58. Why is it important?
    • Should go without saying, but:
    • Allows both consumer and business goals to be identified and set
    • Allows all appointed stakeholders to input into project and agree outcomes
    • Allows content inclusions, priorities and layout to be specified and reviewed before any design or build has commenced
    • Allows timeframes and cost estimates to be identified
  • 59. How long does it take? Typically, the scoping phase of a web-build project will count for 40% of the total project timeline For MasterCard projects, this would include (several) conversations with the GTO to discuss functional requirements, timelines, resource requirements and CMS access
  • 60. Making pretty pictures Concepting and creative design
  • 61. The Creative brief
    • Written by the Account Service team, the creative brief outlines the campaign requirements, objectives and brand considerations
    • It dictates the desired tone and style of both the copy and creative concept
    • It indicates where inspiration should be drawn from (if specific sites have been identified)
    • It identifies the target audience and communications objectives
    • It allows all parties (internal departments and the client) to input into the desired outcomes from a creative perspective
    • The result of which will be…..
  • 62.  
  • 63. And…
  • 64. The studio brief (Task brief)
    • Written by the Digital Producer, the task brief outlines to the digital studio the “nuts and bolts” of the design build
    • Identifies the selected concept with any amends
    • Provides the location of any supplied assets or outlines sourcing requirements
    • Details technical requirements relating to design including minimum supported screen resolution, style guide to follow and CMS or other code restrictions affecting design
    • Will incorporate the functional and technical specification documents
    • The result is “pixel-perfect” PSDs which can be used to create page code…..
  • 65.  
  • 66. How long does it take? Typically, the concepting and design phase of a web-build project will account for 20% of the project timeline
  • 67. Slice ‘n’ dice Front-end coding
  • 68. Front-end coding
    • The front-end developer (often called a Web Designer) will take the PSD files and use Photoshop to “slice” them into assets
    • Like this…
  • 69.  
  • 70. Front-end coding
    • Images then need to be made “web-ready” and resized to between 72 and 96DPI
    • Colours matched and made “web-safe”
    • Flash elements will also be developed at this time
    • They will then produce a mixture of HTML and CSS code which will replicate the design in a web-browser
    • They will produce the code in line with SEO best practice standards
    • They will adhere to W3C standards for accessibility
    • They will liaise with the back-end developers (GTO) to ensure the code they provide is usable in the CMS
    • They will provide place-holders for additional functions to be included later (e.g. XML files, Video player, Photo gallery etc.)
    • They will set up their code in a “development” environment where all parties can review and comments on design and layout
    • The result will be the “shell” of the website with a completed design, but without the functionality.
  • 71. HTML code CSS + Assets + =
  • 72. How long does it take? Typically, the front-end development phase of a web-build project will account for 20% of the project timeline
  • 73. <Code> Monkey Business Back-end coding and implementation
  • 74. Back-end coding and implementation
    • At this stage, front-end code is handed off to the GTO for implementation onto the CMS
    • Code is also provided to dload so form pages can be created
    • Javascripts (allowing interaction and functionality) are also added at this point
    • The front-end developer will work closely with the GTO, dload and other back-end developers to ensure code is implemented correctly and all assets are provided
    • The Producer will begin uploading materials (images, videos, flash files etc.) to the CMS
    • The Producer will work with dload to set-up the required databases and data-capture requirements
    • Tracking tags will usually have been created by this point and provided directly to the GTO for inclusion within page code
    • The pages will be uploaded to a staging environment for review and testing
  • 75. How long does it take? Typically, the technical implementation phase of a web-build project will account for 10% of the project timeline It is also typically one of the largest cost-points
  • 76. Go for launch Testing, fixing and launching a website
  • 77. Testing and bug-fixing
    • Well-run projects will contain several testing phases throughout the development phases
    • A master bug-list should always be prepared for the final testing phase
    • Typically done in a staging environment
    • Amends made in a local development environment then pushed to staging for review
    • Once all amends are made and site is approved, the site can be launched
  • 78. Amends briefed and staging site updated Amends pushed to live site
  • 79. Post-launch
    • Live-site should be checked following same process as pre-launch testing
    • Tracking code should be checked to ensure it is working
    • Typical live-site updates will follow the same process as launch
    • Larger updates may require coding by MercerBell and review on local staging environment
  • 80. How long does it take? Typically, the launch phase of a web-build project will account for 10% of the project timeline
  • 81. Finished!.....almost
  • 82. In summary
    • There are 5 major phases of a web-build project for MasterCard
    • Scoping, specification and technical design can contribute to 40% of the overall timeline but is by far the most important phase
    • Agreeing page layout and content inclusions during scoping will save time later in the process
    • Front-end coding not only covers design, but also search, accessibility and browser compatibility
    • While back-end implementation can be a relatively short phase, it is often one of the more costly
    • Testing is vital at all stages of the project, even after a site has launched
  • 83. Thank you