Posts Tagged ‘digital’

Political Campaigns Need to Embrace Digital Media, If They Haven’t Already

October 10, 2016  |  Media Week  |  No Comments

Political ad spending is like a river, but many campaigns continue to falter by swimming against the current. This year's election cycle may prove to be the final time political campaigns are run like it's still the early 2000s. Sean Duggan The shifting dynamics of ad spending in American politics is yet another bizarre component of this memorably quixotic election year. This reality is fueled, at least in part, by the strikingly modest spending on the part of Donald Trump's campaign, particularly during the GOP primary. Trump's commanding early primary victories left a vast field of consultants and campaigns questioning the effectiveness of paid advertising. As we speed toward Nov. 8, some answers are finally imminent. And they could ultimately be nothing short of game changing for politics as usual in advertising. Despite the home-stretch acceleration of ad spending on the part of Trump, Hillary Clinton has still outspent her opponent by a lopsided 7-to-1 ratio during the past three months, according to AP estimates. If Trump manages to win—or even make it respectably close—the reverberations throughout the political advertising world will be nuclear in the force of their impact. In recent years, media planning and campaign tactics have ignored—to their ultimate detriment—major media consumption and communication shifts. As a result, consumer marketers are now doing a better job commandeering the modern media landscape than the majority of political campaign consultants. Consider the decisions of media consultants in charge of spending $100 million for Jeb Bush's super PAC. "The super PAC consistently bought broadcast television advertising in the biggest, most expensive markets at the highest possible rates," said Molly Ball in the October 2016 issue of The Atlantic. "It Fed-Exed tablet-like mailers to New Hampshire voters that played a documentary about Bush's life, and put just 1.4 percent of its budget toward digital ads, an abnormally tiny amount for a top super PAC." A mere 1.4 percent for digital? Just let that sink in for a minute. Political spending on digital media was expected to break the $1 billion mark for the first time in 2016, according to Borrell Associates, but at a paltry 9.5 percent of total spending, it would seriously lag behind most consumer marketing categories now earmarking 30 to 50 percent for digital. Notwithstanding the ballot burnout most Americans are already experiencing this election season, the 2020 presidential campaign will unofficially commence before the confetti stops falling for the next president-elect.

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Here’s What Really Matters When It Comes to Political Digital Video Campaigns

September 26, 2016  |  Media Week  |  No Comments

To Scott Goodstein, the world of political advertising for a high-stakes campaign like the current presidential race between Hillary Clinton and Donald Trump comes down to just three things: "Time, people and money," he said, referring to the audience they're trying to reach on a given day for a given price. Goodstein would know, after helping propel Barack Obama to the White House in 2008. And more recently, as CEO of Revolution Messaging, he spent the better part of the past two years deep in the digital trenches serving as digital agency of record for Bernie Sanders' spirited campaign. As the online battleground for the attention continues unabated in the final seven-week stretch before the presidential election and plenty of other key national and local races, marketers from both sides of the aisle see digital efforts—particularly those in the mobile realm—as integral to reaching the right voters. "If I'm trying to reach young people in California where they have a higher propensity to cut the cord, why am I buying cable TV [ads] for young people channels?" he said. According to a new report by AOL, 53 percent of political advertisers say they've increased digital and mobile spending from 2012 to 2016, with about half of all such expenditures being bought programmatically. And with audience behavior now front and center in the most data-minded White House race to date, smart targeting is more valuable than ever. In some cases, targeted buys could substantially help a candidate. A survey conducted by TubeMogul found that 35 percent of more than 1,000 voters said seeing an online ad for Clinton, the Democratic presidential nominee, made them more likely to vote for her. On the other hand, just 31 percent said the same for Republican Trump

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OMD’s Digital Head Wants to Foster Cooperation Between Media and Creative Partners

September 19, 2016  |  Media Week  |  No Comments

Specs Current gig OMD, chief digital and innovation officer Previous gig Meredith Xcelerated Marketing, chief innovation officer, general manager Twitter @dougs_digs Age 41 Adweek: You've been OMD 's chief digital and innovation officer for about three months. What's that role like? Doug Rozen: On the digital side, it's really about ensuring that all clients, as well as ourselves internally, are delivering against the fullest and widest array of digital possibilities. For me, what this comes down to is that digital today is not any particular thing or any specific channel—it really stretches across all [channels] and is about rising above talking about TV, print, radio, desktop, etcetera, as channels, and start talking more about formats like audio, video, visual and how then digital allows those formats to be addressable. Now coupled with that is the innovation side, and innovation is not just big media breakthroughs—although they are awesome and necessary—to me it's about every client [having] an innovation agenda. What do you mean by that

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Rauxa’s First CMO Shares Why She Left a Holding Company for an Indie Agency

September 19, 2016  |  Media Week  |  No Comments

Rauxa, the California-based agency that is the largest such organization in this country currently owned by a woman, hired agency veteran and entrepreneur Laurel Rossi to serve as its chief marketing officer in New York. She is the first person to hold that position at the agency, which currently employs more than 200 across six U.S. offices. In the new role, Rossi will work to help Rauxa develop its consulting, experiential and social media services while also expanding its Los Angeles production unit, Cats on the Roof, and furthering its commitment to developing an inclusive approach to talent recruitment and retention efforts. "We're resolute in our commitment to growing our digital offerings, to advancing diversity in our industry, and to tapping data first and foremost to drive our work every day," says Rauxa CEO Gina Alshuler in a statement. "What we saw in Laurel is a true industry leader who can adeptly bring these pieces, and more, together for us in order to build our brand and our solutions as we pursue the next wave of growth." Before joining Rauxa, Rossi co-founded New York-based boutique agency Strategy Farm, which launched in 2008. Havas acquired the company in early 2011 for an undisclosed sum after several months of negotiations, and Rossi went on to serve as president of the resulting Havas Strat Farm organization as well as healthcare unit Havas Life & Wellness. When asked why she chose to move from a holding company to a far smaller independent agency, Rossi cited Rauxa's marketing technology work, its "devotion to good creative" and its diverse leadership. "Diversity is a passion point for me," she says, "and Rauxa is devoted to it. This goes well beyond what everyone is talking about in the marketplace. My bugaboo is a lot of platitudes but not enough action." Specifically, Rossi notes Rauxa's "aggressive, progressive culture" while noting that 75 percent of its C-suite leadership team is female: "I see my job as CMO to make sure that culture is pervasive and that clients know about it, too." Rossi tells Adweek that efforts to make the agency more inclusive go beyond race and gender. "We often have a very narrow definition of diversity," she says, citing her work on a project called Creative Spirit that began in Australia and aims to get companies in creative fields like advertising, film, architecture and music production to hire individuals with physical or intellectual disabilities such as those on the Asperger Syndrome spectrum. Rossi says she has been working on the Australian project for two years, that she plans to bring a similar effort to the states soon, and that Rauxa will ask certain partner organizations to agree to "hire someone of a different ability" as part of the larger initiative. She says the flexibility of the independent agency model also played into her decision to leave Havas. "Independence gets you a lot of things [like] an uninhibited ability to see what the client needs and deliver it and the ability to make decisions on how to invest in clients' businesses without a lot of handcuffs," she says. "This lets us experiment with clients, which is what they're asking for." In July, Rauxa hired Kate Daggett , veteran of agencies like Tenthwave and TBWAChiatDay, as its first-ever chief creative officer. Rossi sees Daggett's hire as an opportunity to renew the agency's focus on creative work as it attempts to build a larger, more visible profile within the industry. "It is a rare opportunity that you find an organization with the entrepreneurial culture of a startup, the innovation of the best tech firms, and the consistent endorsement of its blue-chip clients—all in one package," says Rossi.

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Portal A Creates Branded and Original Content for the Next Generation of Digital

September 12, 2016  |  Media Week  |  No Comments

Specs Who Co-founders and partners (l. to r.): creative director Kai Hasson, managing partner Zach Blume and executive producer Nate Houghteling What Content studio Where San Francisco and Los Angeles Portal A co-founders Nate Houghteling, Kai Hasson and Zach Blume met in fourth grade and made their first 30-episode digital series in 2005 during a trip to Asia. Five years later they reunited to develop "White Collar Brawlers," a series eventually adapted into a TV show on the Esquire Network. Finally, in 2010, came Portal A, named after the basketball court they played on as kids, founded with the purpose of creating branded and original content for a digital audience. "We consider ourselves a content company first. It's all entertainment built for the digital landscape," managing partner Blume explained. While the team has built an impressive client roster including Lenovo and Twitter, YouTube remains one of the studio's biggest accounts and a key part of its story. Since 2011 the team has made YouTube's hugely popular "Year in Review" videos—last year's reached more than 100 million views—as well as the popular "SnoopaVision" April Fool's video starring Snoop Dogg promoting 360 videos for YouTube. This story first appeared in the September 12, 2016 issue of Adweek magazine. Click here to subscribe.

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Here’s How Olympic Advertisers Are Divvying Up Spend Across Digital and TV

August 15, 2016  |  Media Week  |  No Comments

According to data from MediaRadar, 482 advertisers have run TV ads during the Olympics in Rio de Janeiro, with 349 of those brands also running digital display advertising. MediaRadar used data from NBC and aggregated stats from 6,000 websites to crunch numbers from Aug. 1 through Aug. 15. For digital ad buys, the company measures factors like ad type, location, density on the page, media format and frequency to create a metric dubbed a Digital Placement Score. The metric is intended to help compare spend across differing ad sizes and shapes that individual websites and publishers often offer. Video and native ad campaigns, for example, score higher than standard display or banner campaigns. In terms of quantity, DirecTV leads with a total of 19 digital and TV campaigns, with a big chunk of digital dollars supporting the DirecTV NFL Sunday Ticket streaming initiative. The media buy for DirecTV NFL Sunday Ticket includes ads on 30 websites—giving the brand a score of 4,315—while another ad buy for a separate campaign across 45 websites yielded a score of 1,495

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How This Charity Used a Loophole on Mobile Payment App Venmo to Raise Money

July 7, 2016  |  Media Week  |  No Comments

It's no surprise that nonprofits operate on shoestring-sized budgets and are constantly working to recruit a new generation of millennial donors. But Water is Life, a charity focused on providing clean water resources, found an interesting way to hack the popular mobile payment app Venmo, which could open the floodgates to creative and stealthy digital marketing from other nonprofits. Last week, the charity teamed up with Deutsch New York to zero in on millennials who use peer-to-peer app Venmo to send each other money. But there was a problem: Venmo doesn't let brands advertise on the app—likely because seeing a flood of ads alongside credit card statements would scare off its users. So, the charity and agency Deutsch found a tiny workaround by keeping a close eye on the app's global news feed, a feature that shows real-time public transactions between Venmo users. Starting on the Fourth of July—a high-traffic time on the app when millennials are paying their friends back for things like beer and food—Deutsch began sending personalized ads disguised as payments to folks who publicized their payments. The team sent each user a 1 cent payment attached to a 2,000-character message tailored to what they recently paid for. For example, the copy sent to someone who recently charged a friend for a beer may have read, "1 cent can't pay someone back for a beer, but it can help buy someone clean water for a day." At the bottom of the message, a call-to-action prompted consumers to donate to Water Is Life by going to a website. Once the tiny payment was sent, the message appeared in the user's news feed where all of their friends could see it, too

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Inside ‘The Next Rembrandt': How JWT Got a Computer to Paint Like the Old Master

June 27, 2016  |  Media Week  |  No Comments

CANNES, France—Rembrandt van Rijn finished his last painting in 1669, the year he died. So it was enthralling, and a little unsettling, to step on to a boat at the Cannes Lions festival for a private viewing of the first new Rembrandt in 347 years. In a fascinating merging of creativity and technology, the humans at J. Walter Thompson Amsterdam taught a computer to paint like Rembrandt by having it study the old master's works for months. The resulting painting is a completely new portrait, not a replica, and it's indistinguishable—to my eye, at least—from the real thing.

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What Lies Ahead for Gawker Now that a Tech Billionaire Is Bankrolling Lawsuits Against It?

May 26, 2016  |  Media Week  |  No Comments

If you thought the Gawker saga would slow down as we creep closer to Memorial Day weekend, you thought wrong. Following a dizzying 24 hours that ended with Silicon Valley billionaire Peter Thiel admitting outright that he's been bankrolling multiple lawsuits against the media company, the discussion now turns to Gawker CEO Nick Denton and his ability to withstand all of these costly lawsuits. Though Gawker was dealt another loss on Wednesday when a Florida judge upheld the jury's decision to award Hulk Hogan some $140 million over Gawker's publishing of a sex tape in 2012, the company plans to appeal. Despite Gawker's insistence that it will get the verdict overturned—the judge in the case is the most overturned judge in Pinellas County over the past four years—the company is still incurring a hefty legal price tag for a process that could take months. And for Thiel, who is going after Gawker over some not-so-nice stories written about him, bleeding the company dry could be just as important as Hogan's right to privacy. "Gawker could be in a very perilous financial situation," Ryan Skinner, a senior analyst at Forrester, told Adweek. "They need to explore different ways of trying to secure the business going forward." And that's exactly what Gawker has been doing. A pair of reports from the New York Post and Wall Street Journal set off alarms when the outlets revealed that Denton has been quietly soliciting bids for a potential sale of the company, in the event that he either has to pay the $140 million or the mountain of legal fees becomes too much.

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European Union Mulls 20% Content Quota for Netflix and Amazon Prime

May 19, 2016  |  Variety  |  No Comments

The European Commission, the European Union’s executive arm, is mulling a move to impose a 20% European content quota on video streaming sites like Netflix and Amazon Prime. More to follow.

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