Video blazing a new audience and engagement of the brand, NewFronts 2018 should be an important point of support for producers and platforms as well as marketers become more comfortable using video as a branding tool.
That will include direct-to-consumer brands are trying to spin the first batch of next-generation data, including video marketing in all its forms, ranging from the 6-second ads prior to long form and ad-supported OTT and social video. Adweek was happy to once again host our annual NewFronts round table in partnership with the interactive advertising Bureau (iab) in our headquarters in new York. Six industry leaders who live and breathe in the growing market of digital video, along with moderator Anna bager, Executive Vice President, industry initiatives at IAB, is attractive and animated hour-long conversation on the key forces shaping their respective platforms, products and businesses.
The discussion was important to listen to the needs of the audience across many platforms—traditional, mobile and social—to create more quality content and more effective branded efforts of clients, many of which are still huddled in experimental mode. And this is largely due to fears of brand security in this Millennium-managed ecosystems with the new rules and the speed of light cycles of glory and disappear. The solution to these problems, the roundtable participants discussed the new processes and mandates of the relationship, they hope, calm UMK fears that his or her release of the video will be seen by the right audience in an appropriate environment to exchange messages. Here are their words.
Roundtable Adweek, in cooperation with MAB, focusing on key forces shaping the industrial area companies, content production and business.Raquel Beauchamp
Anna bager (IAB): I want to start with those of you who are new to NewFronts this year. What will happen to ESPN, viacom and Meredith. Why did you decide to participate and what you most expect this year? We can start with viacom.
Kelly day (viak): so this is the first year that viacom in a long time really heavily invested in digital Content, in particular company viacom Digital studios just launched four months ago. So it’s a relatively new venture, and we were very excited to have the opportunity to tell a story about what we do and to reach a wide audience in a very cohesive manner to be able to talk about what’s going on. We have a lot of new concerts, and VidCon and say: we feel that we have something to tell.
Stan Pavlovsky (Meredith): as you mentioned, we are kind of new in this case. Our colleagues at time Inc. were committed in the NewFronts for the last five years and we will bring a few symbolic companies, so we believe that this is a very good opportunity to talk about the new Meredith and our capabilities and our data in the video.
Travis Howe (ESPN): I think for ESPN, we believe that this is an important time for us to participate in really help to establish some kind of strategy around what we see the future of the sport, in addition to severe weather, we think it is an important part of digital ecosystems, and the ways in which you can tell stories on the game and the story of the game, be it original content or news and highlights. And so we think that this time of year is right for us, given where the sport sits and conversation: attracting the attention of the target audience, and the role that we see in the creation of this strategy.
Bagher: how about from the founding partners YouTube and Google, as well as veterans of Twitter and Studio71?
Tara Walpert levy (Google): when we first put it together that it was just an incredibly important time for people to understand the trends in terms of how consumers behave and interact with video and television in a broader sense. And it’s great for us to see as he disappeared from six partners back in the day dozens. Reflecting the vision that people consume Content in radically new ways. And I think the fact that you also have some traditional players at the table suggests that Nielsen says is very difficult to reach half of the country through traditional TV.
Photo: Raquel Beauchamp
Matt Derella (Twitter): the Twitter it came from us to hear from our customers who asked us to participate to show what we do with news, sports and entertainment. So we did and were able, I think it’s different than taking television and putting it on a mobile device, for example. We really try to work with our partners to rethink sports, news and entertainment for our mobile-first audience.
Thats Reza (Studio71): Yes, the NewFronts have always been a big stage to make announcements around a big content partnerships. But with all the brand, safety, and join the conversation, we see a great demand of holding companies to make real commitments. We think that going forward, it will be more important because there’s going to be much more of a deficit for the adjacency.
Bagher: there are so many shows, networks and platforms, what are your best practices for marketing new content?
Derella: the secret ingredient on Twitter is the conversations occurring in Twitter. This is the first time and it will be the most powerful way for us to actually program. In addition, it really helps if you have incredible engineers working on products, which cause the detection. So one of the things that we talk about in the NewFronts are some of the improvements that we make to what is actually happening to allow content to surface to our audience in a way that’s really timely and topical and will help to connect people with what they are most passionate about.
Thats: one thing you should find out if you are a content producer is the algorithms that put everything in its place. He was very important in understanding how you optimize your Content in these channels. Whether it’s on Netflix, which has a set of tools that recommend Content, YouTube and Instagram, Twitter and so on. It really change the way you produce and what you produce, so you really meet the requirements of those platforms.
Walpert levy: we’re really looking platform to platform and then taking it a step further and say OK, who are their peers or celebrities that dominate these platforms and how we develop shows in conjunction with them? So with YouTube it is obvious that the partnership with youtubers and really looking at them as creative partners and think about how we develop projects together with them. So when we green lit the Cobra Kai, it was because we would have seen more than a billion Views karate kid clips on YouTube, and it makes it easier when you go to market to that audience.
Thats: all the Marketing in the world is not going to overcome the programming that misses. So the content is key.
Howe: for us, we should do very well predictive modeling, where we believe that the best games will be, as we note in these games, and where we make these games. But I also think that the second part of our strategy content tells the story around the game. Much of what we do about news, but about the original series, it is about creating a fandom around their favorite team, their favorite player, their favorite League. And so for many of us is to follow the behavior of users and actually listens on the platform.
Photo: Raquel Beauchamp
Bagher: how do you balance for fans of the niche content with more broad-based Content distributed in the traditional concept of scale?
Howe: we found out something very interesting to look at our partnerships with some of our social partners. We realized that 85 percent of our audience skew at the age of 35 or under the age of 25. So it’s a very different approach to programming, SportsCenter, for example, than we have historically accepted. They don’t necessarily want to watch the channel “sports” that we have in our network, so it is necessary for the vernacular or shade and even structure that programming to live in a single outlet, like snapchat, for example.
Pavlovsky: we are very passionate about this topic and we discuss it a lot. I think a lot of the innovation is really happening in the niche of programming something for a specific audience that is interested in, for example, Pets, like our rows of paws and claws on PeopleTV. When you bring in the audience that are very passionate, I think you have a real opportunity to then expose them to a much wider programming and to discern what your brand means.
Walpert levy: the only thing that was interesting is that the living room is one of the fastest-growing platform to YouTube. And one of the things that surprised us when we looked at the pictures between the TV and the mobile and desktop, the difference is not as great as you might think. Thus, we see a much longer session in many cases on television, but often they go in and out the short form to form and back. And similarly we see a significant number of consumers to watch long form on mobile. I think it really helps us to understand that the rapprochement not only between traditional TV and online video, but for all types of devices so that I don’t know what people expect. And she’ll just come back to this topic that the consumer is driving the bus.
Derella: for example, we see that the conversation on Twitter around Game of thrones just explodes after the episode. And that’s what marketers really want to be attached. They want to be around things that are big and popular and happens in a culture. I think this is a big opportunity that is on the minds of CMOS’. How can I better understand this trend to a non-ad-supported high quality video and how to contact these users and those people who are watching it?
James Cooper: what brands underestimate the Pro video space and its evolution in the next 18 months?
Walpert levy: customers continue to struggle with How to determine the quality. Historically, there was very traditional, very ecosystems-driven definition of what quality, and very high performance and, as a rule, long form. And we don’t see consumers making the same choices. It will continue to be an important point of transfer within the next 18 months it is really recognizing as you balance the environment that you feel safe as a brand that consumers say they are passionate about and not paying attention.
Photo: Raquel Beauchamp
Thats: amazing how many agencies go in and ask, have you heard of Rhett and link, who was already on the platform for 10 years, and many people don’t even know who they are. This is one of the biggest problems: how to break through the noise? Because there’s really very good content on the platform and it’s not just a bunch of kids on skateboards or that the old proverb is not. This is an audience that doesn’t watch TV. Is the audience, which all discuss, but no one seems to know where they fit in the cultural landscape.
Walpert levy: I would push back a bit. I think this is one area where clients and agencies are making great strides.
Thats: they certainly are, but this is surprising, given the investments that they make, how little they know about what they see. It was our perspective and we go out and sell the individual channels and it’s amazing how much work we need to do to create a market for creators.
Bagher: how you use your data, your specific audience and a real connection you have with them to create the best Content and branded content?
Howe: talk about direct consumers, brands go I think, all of us, looking at how they can get closer to the audience. I think for us especially, sports can be very emotional. This is one of the few materials where you can see grown people cry whether or not their team won or lost. It is sometimes difficult to determine who they cry, but the sport can have a very emotional reaction. And I think for us we need to use this information in the best of the benefits the marketer.
Photo: Raquel Beauchamp
Pavlovsky: in the branded content to be successful, it requires a very good understanding of the audience. Therefore, using the data and insights we had a lot of success with clients in the beginning of the conversation and having long-term relationships. But what happens during the creative process you’re trying to present those insights around user generated content and then you have a negotiation process with the customer to ensure that they are happy. It’s bridging that gap between what we think will resonate with consumers and understanding that the customer content and the message that they want to talk about your brand. Therefore, the availability of these data and to be able to react quickly and shift critical as you work with clients to optimize.
Cooper: what do you think about AD length and the right balance?
Day: so if we all thought that it was difficult to get people to watch 30-second ads, to try to 18-year-old to stop scrolling Snapchat. It’s very difficult environments, and very noisy environment to get consumers to stop and pay attention, whether it’s for Your commercial or show. Say we acquired earlier this year, because we believe that solutions for advertisers that include everything from creating short-form spots of longer-form programming, to the store Buyer activation is that is coming, and that we should be solving specific problems of the organization and create all different types of experience that are going to help people to quit scrolling and pay attention to your message.
Cooper: the most important thing that you should do now to ensure your videos are important and relevant in the next two years?
Day: I think for publishers in all areas we need to be incredibly flexible and flexible as what we produce. We should all be very good in understanding how consumers navigate these platforms, they are all. If you watch how young people interact with their phones, they just pass through these platforms at the speed of light. So over time as the distribution becomes more social, more mobile, have the basic skills of blocking and tackling on knowing who the talent is, what the audience and how to create content in these environments. You just have to be ready for anything.
HOU: it’s about continuing ecosystem that works today, and looking at how you invite new platforms, whether it be momentarily or for a longer period of time on figuring out what the new Platform means that the existing ecosystem view, and then figure out how you program in accordance with habits. And I think that information and technology played an interesting role in addition to the narrative, going on a solo platform.
Thats: as I look across the room, be it your favorite movies, or ESPN, or Meredith and time, we worked very closely for many years and we look at our role in this digital landscape, as a bridge, not an island. As a chance for us to bring the best of what we have to bring new achievements on those platforms, those Content creators that make sense in our platform. It’s really important that we continue to develop and build such partnerships even deeper, building on the Foundation of the last five years. I think what really sets us real balance on the market, where there are many more choices for advertisers and consumers.
Standing, from left, in 2018 NewFronts Adweek moderated a “round table” Anna bager, Executive Vice President, industry initiatives, IAB; Travis Howe, senior Vice President, platform strategy and global operations, as ESPN; Stan Pavlovsky, President of Digital, Meredith; and Tara Walpert levy, Vice-President of the Agency and media solutions, Google. Sitting, left to right: Reza Thats, General Director of Studio71; Matt Derella, Vice President, global revenues and content partnerships, Twitter; and Kelly Day, President of viacom digital Studio.Raquel Beauchamp
Bagher: obviously a huge problem in the ecosystem is absolutely safe. Where are we at now in its evolution and that will drive important gains?
Pavlovsky: I think this would be great for Ana and 4A, and ATS, etc., to come up with some recommendations that buyers can work. There are many different security components, and we haven’t even talked about data and privacy. So I think we’re a bit far from coherence from the point of view of the method of measurement. Plus there are so many different formats, and we talked about different lengths, in different contexts. But we certainly welcome more standardization and we will build around it.
Derella: we’re just trying to simplify it. For marketers, if you want to be in control, we have a solution that allows you to select exactly the content you want to run next. Some want more than others, and for us, we just put that control in their hands, so they can decide, rather than us trying to judge what is premium and what is safe.
Day: viakom always had a very strong position of the brand on security, because we work in the children’s brand. This is obviously a very sensitive issue for us that we take our role seriously. I think the easiest way that we have decided on this ban more of a macro changes is that we generally control our pace of sales. Therefore, we would like to be able to promise advertisers that if you know that you are buying from the company viacom, we’re just going to run your advertising in a completely safe.
Walpert levy: I think that’s a critically important topic, and frankly, the new content explosion model and the attention of the consumer, this means that we need to pay attention to get to normal for a long time. I say we have clearly learned a lot the hard way along with many of our partners, for whom I think we apologized many times and again. But I think the good news is that from this study we have announced a number of initiatives in the field of safety brand in the beginning of this year, we received great feedback from our customers. One of the favorites of the fan that there will be no advertising, which is against the Google preferred lineup in advance that it is not tested on humans. And there are other things that surround third-party verification and more accurate the signals algorithm. I think that is still a decent amount of work for our institutions and our brands. So I think we feel better, I don’t know that we are close to easy, but simple.
Click for more from this issue this story first appeared in the April 30, 2018, issue of the magazine Adweek. Click here to sign up.