Internet Marketing Handbook Series

Internet Marketing Handbook Series
IAB PRESENTS
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Video Buyer’s Guide - “Scenes”
Description:
Chapter one Introduction
Description:
Chapter two - Online
video audience
© IAB Productions, Inc. All Rights Reserved.
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Video Buyer’s Guide - “Scenes”
Description:
Chapter three Understanding online
video
Description:
Chapter four - Why video
advertising works
Description:
Chapter five - IAB video
ad guidelines
Description:
Chapter six - The video
content explosion
Description:
Chapter seven - Future of
video advertising
Description:
Chapter eight - Success
stories
Sponsored by
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PG.1
VIDEO BUYER’S GUIDE
1.
1.
Introduction
Y. Bill Gash - Regional Sales Director,
B
Ooyala and Chair, IAB Video Council
EXCELLENT! You’ve got a copy of our handbook. We hope
reading it will prove rewarding, stimulating even, thought
provoking and definitely informative. You’re possibly
aware that 42% of all time spent online includes exposure
to online videos (comScore, Sept 2010). We are fast
approaching a point where the internet, web, social media
and mobile are largely video centric experiences.
ou may be a media or account planner looking to back up your
Y
case that your clients should add online video to their media
campaign, for incremental reach, up-weighting key demographics
or for greater engagement. Or you could be a marketer with a
sneaking feeling that your websites lack something that we’re
all starting to make much more use of – video.
erhaps you’re a creative or producer, challenged by a brief
P
to create video assets that are suited for online delivery and
consumption over multiple devices, rather than a simple, 30
second commercial. Or you may be a digital specialist excited
by the prospects of being able to track campaigns and their
effects in ways that would have been unimaginable just a few
years ago. If you’re a social media professional, aware that
video is fast becoming the medium that underpins the power of
social networks, you are definitely going to enjoy this.
Whether
you’re part of a small business, or a large
international corporation, a big TV advertiser, or a more
specialist brand or business, using video based marketing for
the first time you’re in the right place.
hatever your reason, this handbook should deliver new,
W
relevant and factual information, on which you can make better
decisions. Video is known to be the most powerful and effective
of media. People absorb more, learn more and remember more from
video. Online video adds to your TV buy and, if you plan to use
your own content, it’s never been easier to produce, distribute
and share good quality video. You can track how it’s delivered,
to any internet enabled device and measure how it’s consumed.
All this is creating more opportunity for businesses that want
to engage, involve and activate their audience. Whether as
advertising in premium online content, or by using your own
branded content, to inform or entertain.
behalf of the IAB Video Council, I hope that what follows,
On
helps you discover how your business can harness the power of
video.
PG.2
CUT
TO
2.
Online video audience
BY. Julie Jeancolas - Board Director - Carat
1.
Online video viewing figures continue to rise significantly.
Most TV campaigns now include a digital element to increase
reach especially amongst light TV viewing audiences. It
has become a mainstream phenomenon essentially led by
the younger generation and it will carry on growing as
delivery methods mature. Online video is the translation
of consumers’ changing audiovisual behaviour - seamlessly
switching between traditional TV, to PC/laptop, game
console and mobile. Indeed all disciplines and channels
are now leveraging “digital” video: PR, search marketing,
display advertising on web or mobile, sponsorship, social
media and even out of home.
2.
Sticking your TV ad “online” is not the only answer.
Interruption is no longer permitted. Advertisers need
to truly understand context and mindsets to micro-target
their audience. They need to tell their story across
platforms, enhancing the experience at each step of the
way with the right content. Watching TV is no longer a
lonely experience. Interactive and social features are
crucial to involve the audience and generate better
business results. Beyond pre-roll and post-roll ads
brands should think about producing their own online video
content. They should also entice consumers to create their
own content and share it with their social network.
Sponsored by
PG.3
VIDEO BUYER’S GUIDE
3.
This ultimately will drive the brand’s search engine
rankings and its overall online presence. From
professionally made to user generated videos there
is no shortage of demand for motion-based content.
Consumers’ hunger for online video will continue to grow
and its success will be based on its richness, realtime addressability and social features. Many brands and
sectors have already proven the positive impact of online
video on their bottom line from FMCG companies chasing
brand metrics to “short-term ROI” driven retailers.
Long Term Trend of Video Viewing in the UK
50
42.9
Millions
40
30
37.3
34.5
36.7
30.3
27.5
20
10
Source: ComScore, January September 2010, UK Audience
0
Jan-Sept 2008
Jan-Sept 2009
Total Internet Audience
Jan-Sept 2010
Online Video Viewers
Time of Day Distribution of Traffic to Leading Video Sites
200
180
160
140
120
100
80
60
40
20
Source: ComScore, September 2010,
UK Audience
PG.4
00
01:00
02:00
03:00
04:00
05:00
06:00
07:00
08:00
09:00
10:00
11:00
12:00
13:00
14:00
15:00
16:00
17:00
18:00
19:00
20:00
21:00
22:00
23:00
:0
0
0
Index vs.Average Hour
Unique Viewers (Million)
September 2010
20
18.4
18
16.7
16
Millions
14
12
52%
10
48%
8
6
4
2
0
All Males
All Females
Videos Viewed (Billion)
Videos Viewed (Billion)
September 2010
5
September 2010
2.0
4.4
1.72
1.47
1.5
3
2.2
67%
2
Billions
Billions
4
0
All Males
1.04
1.0
0.73
0.5
33%
1
0.34
0
All Females
6-14
15-24
25-34
Total
Hours (Million)
450
400
408.4
250
150
55+
All Females
143.4
108.6
100.0
Millions
Millions
144.2
140.0
120.0
73%
45-54
September 2010
160.0
300
153.3
83
80.0
62.4
60.0
40.0
100
27%
50
0
35-44
All Males
Hours (Million)
September 2010
350
200
1.33
All Males
20.0
20.1
0
All Females
6-14
15-24
Total
Total videos viewed
in September 2010:
6.65 billion
Source: comScore, September 2010, UK Audience
Total unique viewers
in September 2010:
35.1 m
25-34
35-44
All Males
45-54
55+
All Females
Total hours in
September 2010:
561.7 m
PG.5
VIDEO BUYER’S GUIDE
3.
1.
Understanding online video
advertising
VIDEO SHOWS MARKET BEATING GROWTH
20.7
Pre/mid/post roll grown
x 5 in 2 years
16.9
11.4
7.8
3.9
H1 2008
H2 2008
Source: PwC / Internet Advertising Bureau
PG.6
H1 2009
H2 2009
H1 2010
2.
ONLINE VIDEO WORKS ON ALL DEVICES
3.
UNDERSTAND THE TYPES OF ONLINE VIDEO CONTENT
Online Video
any video content
delivered to an internet enabled
device e.g. Laptop, desktop, mobile
phone, tablet, TV
Short
5 min or less
(e.g. short news, sports, entertainment,
music, film trailer, user generated clips)
4.
Long
Over 5 mins
(e.g. programmes
and films)
THINK ABOUT LENGTH OF CONTENT
News, music, reviews etc
Advert
Content
TV
Film
Shorter content should have shorter adverts or advert breaks,
while programmes and film can handle TV and cinema like adverts.
Sponsored by
PG.7
4.
1.
PG.8
Why Video Advertising Works
The IAB and Sky carried out a robust research study
that live tested 5 different video advertising formats
with a view to providing industry insights around the
effectiveness of each. The results highlighted the
opportunities for branding around video as well as proving
to also be a very successful response tool.
1.
PLACEMENT IMPACTS CUT-THROUGH
Recalled brand correctly
Also recalled strapline
`
44%
`
47%
43%
Correctly recalled the ad
`
37%
36%
32%
28%
Pre-Roll +
Companion
Banner
Preroll
Branded
Video
Player
23%
Post-roll
Overlay
“Which ad did you see?”
base: 4459
2.
28%
23%
1.23%
BRAND PLACEMENT INCREASES CALL TO ACTION
Companion banner CTR
0.83%
0.77%
Clicked the ad
0.89%
0.16%
Pre-Roll +
Companion
Banner
Branded
video
Player
base: 9.6m impressions
3.
IN TERMS OF RECALL,
pre-rolls + companion banners
and pre-rolls on their own came
out the highest. Users were in
an expectant and attentive state
of mind, in anticipation of
their task - directly influencing
receptivity. They were more
reflective following completion
of the task with a less attentive
mindset resulting in a lower level
of recall.
Post-Roll
Pre-Roll
Overlay
Click-through rate
BRANDED VIDEO PLAYERS
and pre-rolls + companion banners
achieved the greatest click
through rates of all the formats
proving to be influential in call
to action. These formats didn’t
interrupt the user’s task at
hand and were still present when
the video had ended providing
the opportunity for users to
investigate further once the video
had ended.
BRANDING GOES BEYOND CLICKTHROUGH
Total Exposed
5%
5%
Investigation
Delayed
Investigation
3%
2%
Immediate
Purchase
Delayed
purchase
THIS CHART SHOWS EVIDENCE
of follow-on investigation in the
days after exposure, demonstrating
the latency affect of online video
that we see across other media.
Viewers like to investigate brands
in their own time further proving
that click through should not be
used as a measure of success for
branding campaigns online.
(CONTINUED)
What did you do after you saw the ad?
base: 4459
PG.9
VIDEO BUYER’S GUIDE
“Look beyond the click through as a measure of success
for your branding campaigns online as this won’t provide
you with a true picture of how your campaigns performed.
Investment in brand research will better help you to
understand how your campaigns have performed in the same
way as other media”
SORCHA PROCTOR
senior insights manager, IAB
4.
ENVIRONMENT HAS AN IMPACT ON ATTENTION
44%
Correctly recalled the ad
39%
At home relaxing
base: 4459
5.
At work
Correctly recalled the ad
BRAND RECALL LEVELS
were higher at work than home.
Users at work are more focused
on the task at hand and are
more time restricted, thereby
increasing receptivity to ads
exposed. At home users are more
relaxed and exploratory in their
online usage and more likely to
click. Furthermore, we saw that
actual clicks increased in the
evening, providing opportunities
for advertisers to use branding
throughout the day and response
driven advertising during the
evening.
USERS ARE 10% MORE LIKELY TO RECALL THE AD
IF THEY ENJOYED THE CONTENT
43%
Correctly recalled the ad
39%
Enjoyed Video
Didn’t Enjoy Content
“Did you enjoy the video you watched?”
base: 4459
PG.10
RECALL WAS HIGHER amongst
those who enjoyed watching the
video, indicating that attention to
the content delivered attention to
the brand. Furthermore, we found
that users appeared to understand
the trade off between quality
content and advertising – they
believed that advertising was more
appropriate around entertainment,
sports, music and news content
than user generated content. A
quality site will lend that quality
to brands, so it’s important to
choose sites that reflect the value
and quality of the brand.
5.
1.
IAB Video Ad Guidelines
Pre/mid/post-roll adverts
The pre/mid/post-roll ad formats are the online video ad
format that closest resemble regular TV spot ads. The ad
format is linear in the sense that it takes over the full
experience of the viewer for a limited amount of time.
STRENGTHS:
The ad format grants both sound and moving images to
convey the message. Most commonly this is done with a
video file, but the ad may as well be a regular banner
ad file.
Sponsored by
PG.11
VIDEO BUYER’S GUIDE
PLACEMENT:
Pre-rolls are inserted prior to content, mid-rolls in
commercial breaks within the content while post-roll
ads are inserted after content is completed. The pre/
mid/post-roll ad format allows for different levels of
interactivity, but they should at least be clickable.
FILMING AND PRODUCTION
• RATIO: 16:9 (widescreen)
• LENGTH: 5 – 90 secs depending on
placement, e.g. online TV programming
can handle longer ad lengths, while
short news and music videos need
shorter edits of 5 – 20 secs.
• FRAME RATE: 25 fps
FLASHING IMAGES:
The CAP code for non-broadcast advertising which
came into force on 1 September 2010 introduced a new
requirement to audiovisual advertising to comply with
the guidelines for flashing images. With audiovisual
material being increasingly watched outside of the TV
environment, one has had to introduce similar rules
to non-broadcast advertising. Many post-production
houses can run your ad through the Harding’s Flash
test, which is the only available test for this. Or
from 15 October 2010, you can test it yourself on
www.onlineflashtest.com.
MINUTAGE:
UK regulation does not have any rules on minutage
for VoD advertising, unlike for linear TV, where the
maximum is 20% per hour.
PG.12
PUBLISHER CONSIDERATIONS
• S
OUND LEVELS: Ofcom state that publishers must make
sure the maximum volume of an ad is in line with
content. If a peak-reading meter is used instead,
the maximum level of the advertisements must be
at least 6dB less than the maximum level of the
programmes to take account of the limited dynamic
range exhibited by most advertisements.
• F
REQUENCY CAPPING: Ensure you specify a limit on
the number of times your ad is seen within a given
amount of time. Over exposure to an ad can annoy
viewers, while underexposure can reduce impact.
DELIVERY TO PUBLISHER
• D
ELIVERY: Use HTTP or go through an ad delivery
specialist like Beam, IMD or AdStream.
• FILE TYPE: Original broadcast quality file.
• M
ETA DATA: Each file to include the following
parameters: clock number, advertiser, product,
industry sector, as well as obvious ones like length,
bit rate, etc.
• C
LICK COMMAND: Advertisers must give a landing page
URL and should carefully consider what is included on
it for consistency with the ad.
• FILE NAME: To follow the Clearcast naming convention.
• C
LOCK NUMBER: The convention for a clock number is to
show the name of the agency, the client and product,
a commercial unique identification number and the
commercial length. These codes are punctuated by a
“/” to make a 15 character number:
-
Sponsored by
Agency Code (three alpha characters)
Terminator/Client Code (two alpha characters)
Product Code (two alpha characters)
Unique I.D. (three numeric characters)
Terminator/Duration (three numeric characters)
PG.13
VIDEO BUYER’S GUIDE
2.
Interactivity
n the internet, both video ads and content can be
O
enhanced by allowing user interaction. Interaction is
usually added with clickable hotspots (that hover over
products) and buttons (that sit in the player, but not
over the product). If the click then takes people away
from the video it is best practice to pause the main video
and open a second window so that viewers can easily return
to the original interactive video, especially as they may
not have finished watching it, rather than click back in
the same window and have to revert back to the start of
it. Some types of interactive functionality WITHIN THE
VIDEO PLAYER already commonly include:
• D
isplay further product
information
• Display live data
• Purchase a product
• Multiple videos (select other
videos, influence a story by
choosing a different ending etc)
• Data capture with forms
• Games
• Votes / polls
• Chat and social media
integration
• Downloads and other
functionality
3.
Overlays: banners, tickers and bugs
he overlay ad format is a non-linear interactive ad
T
format. In contrast to the pre/mid/post-roll ad format,
the overlay doesn’t take over the full user experience.
Instead, it is shown with the content by overlaying part
of the video frame.
An overlay banner runs along the bottom of the video while
tickers and bugs allow for more flexibility.
PG.14
GUIDELINES
Insertion:
During content playback.
Duration: Max 15 seconds per banner.
Frequency:
Max 1 overlay per 3 minutes.
Click event: Click may expand overlay to
auto-initiated video, interactive ad or take
user to advertiser’s site.
Dimensions: The ad will be scaled to fit the
video player dimensions and must respect
the content. For instance, a banner may use
max 1/5 of the player’s height.
4.
Interactive video player skins
Interactive skins (e.g. InSkins) add a frame around a
video player on a website, with advertising images or
animation. This allows brands to dynamically rebrand the
video player of any publisher, with an animated, clickable
skin. Interactive skins offer maximum brand exposure
(dwell-time), high CTRs, and great user experience.
GUIDELINES
Insertion:
At the start and
throughout content
playback.
Duration:
Visible for entire
duration of short-form
video content.
Click event: Video pauses, then brings
the brand to the user,
on an expandable layer,
offering interactive.
Dimensions: The ad will scale to
fit the video player
dimensions.
Expandable
900x600px.
layer:
Sponsored by
PG.15
VIDEO BUYER’S GUIDE
5.
Companion ads
Companion ads are intended to
be used to enhance impact of
in-stream ads and allow user
interaction throughout video
playback.
The companion ad can be placed
anywhere adjacent to the video
player and be of any standard IAB
banner format.
Companion ads should always be loaded in sync with pre/
mid/post-rolls or overlay banners. If the companion banner
contains user-initiated sound, the playback within the
video player must be paused whenever a user interacts with
the companion banner.
GUIDELINES
Insertion:
In sync with in-stream pre/mid/
post-rolls or overlays.
Duration: Stays present until swapped to
another companion ad.
Click event: Interactive content or take user
to advertiser’s site.
Dimensions:
Any standard IAB banner format
(www.iabuk.net/standards).
6.
Product placement in video and brand funded video
The two routes that brands can
take for product placement and
brand funded video include:
1. Place products in videos
produced by media owners
E.g. Sainsbury’s, L’Oreal and
Nokia sponsored online only video
content in the 2010 series of X
Factor using their own products on
the show’s website.
PG.16
2. Fund their own video featuring their products
E.g. Fashion retailers Jaeger, Debenhams and many others
now host and show videos on their websites that are
interactive with hotspots and the ability to buy products
from the video (see case studies section for more).
7.
Viral
ou obviously can’t force a video to go viral, but with
Y
the right formula the internet is the perfect conduit for
sharing great branded video clips (usually adverts) to
extend media reach.
Any popular viral video starts with an excellent concept
that’s funny, informative, unique, shocking – anything
that makes it standout, interesting and worth sharing with
friends.
In order for people to share a video, they need to find
it first, so quite often a viral needs a paid platform to
start from. The process known as seeding whereby a company
plants the video on key sites and networks around the
internet is one of the best ways of launching a viral.
Seeding helps build the critical mass needed to encourage
audiences to talk and share a video.
IAB Standards
• V
AST 2.0 (Video Ad Serving Template) - A standard way for
third party ad servers to plug into publisher players.
Advertisers and agencies should learn more about VAST 2.0
because it will help offer greater insights into stats,
reporting and comparison with other media. Learn more:
http://bit.ly/iabvast
• V
PAID (Video Player Ad Interface Definitions) - Simply
these are a set of standard definitions that enable more
video adverts of differing types to work better with
different video players. ITV and media agency Phd recently
announced that they used VPAID to run an interactive
video ad for the DVD release of the film Inception. Learn
more: http://bit.ly/iabvpaid
Sponsored by
PG.17
VoD
Advertising Regulation
oD is different to online display advertising, in the
V
sense that it is defined as a service where all the below
criteria must be fulfilled to be VoD:
ontent is comparable to programmes
• C
normally seen on TV
Access is on-demand
• A person has the editorial responsibility
• (i.e. not like YouTube)
The content is made available to the
• public by that person.
t is the media owners’ responsibility to decide whether
I
the service is VoD and register with www.atvod.co.uk.
An online service becomes VoD only after the viewer has
selected a programme, i.e anything seen before this, is
regulated as traditional online advertising.
In practice, the implications of a service being VoD and
not traditional online advertising are:
The media owner has the responsibility to comply with
advertising regulation specific to VoD related to
•
•
•
•
•
•
•
igarette and tobacco products
C
Prescription-only medicines
Alcoholic drinks
Certain advertising techniques
Prejudice and discrimination
Environment
Minors
To see more, go to the www.opsi.gov.uk
Advertisers are responsible to comply with every other
aspect of advertising regulation, as defined by the
www.cap.org.uk SOME VoD PROVIDERS WILL REQUIRE THAT THE
PRE/MID/POST-rolls are submitted for VoD advice, visit
www.clearcast.co.uk from Clearcast.
Copy advice is also available from www.copyadvice.org.uk.
PG.18
CUT
TO
6. The Video Content Explosion
1.
BY. TIM CAIN - The Association of Online Publishers
Video is an essential part of content for most digital
publishers, it enhances the consumer experience, creates
more engagement with the site and users expect to see it.
Growing opportunities:
Many traditional news and magazine publishers have now
invested in their own video production facilities and
broadened the remit of writers and journalists to include
broadcasting content as well as producing the written word.
Video is a cost of competing now for publishers but it
can create significant revenue streams. Video content
spawns video advertising opportunities too, potentially
high yielding around the right premium content and an
attractive way for brands to create high impact with
users. As more professionally created content is generated
online, advertising opportunities are expanding rapidly
as brands are generally reluctant to position themselves
alongside user generated content where quality and topic
may not be appropriate reflection of the brand values.
Reach:
Video is such a transportable and engaging asset that it
lends itself to widespread distribution, with publishers
embracing social media to share content that will drive
interest and traffic back to their core brands.
YouTube as the leading video platform in the UK is an
ideal outlet for traditional publishers’ short form video
output. Video content works best in bite size chunks,
usually 2-5 minutes, from news items to skills training,
Sponsored by
PG.19
VIDEO BUYER’S GUIDE
entertainment, sports clips and pretty much anything
representing the whole diverse range of content and topics
published online. The viral aspect of video driven by
online users desire to share content and information and
their appetite for social media are powerful aspects for
publishers to harness in incorporating video content into
their marketing plans.
Deeper experience:
Video is increasingly used to take the online reader or
user deeper into the subject they’re consuming, bringing
articles to life, adding depth and engaging the consumer
by delivering a multimedia experience.
Increasingly, as publishers embrace emerging platforms
such as iPad and other tablet devices the expectation to
create content that immerses the user will see more video
creation by traditional media brands.
Relevant to all demographics:
General video consumption online skews to a younger
audience brought up on a diet of visual media and snacking
of content but video is relevant to every age group, every
interest group and every genre of publishing. It will
continue to be ubiquitous across the online publishing
landscape.
The future of TV:
For broadcasters, online video is a fantastic asset,
with on-demand services growing massively in popularity
reflecting consumers changing lifestyles where traditional
tv viewing is becoming less relevant. All major
broadcasters have developed significant programme streams
via online players.
In addition, we’re likely to see an increase in long
form content as alliances between broadcasters mean the
development of significant video hub type sites such as See
Saw which includes BBC, MTV, Channel 4 and 5 on demand
content as well as enabling users to rent premium shows
from the UK and US.
Pay per view or subscription models could generate
substantial revenues in addition to advertising but it is
still early days for a developing medium.
PG.20
VIDEO BUYER’S GUIDE
7.
1.
The future of video advertising
BY. ROBERT BLACK - Sales Director, EyeWonder
Reading this handbook, you can be in no doubt that the
future of online advertising is video and it’s growing up.
As an industry we are confronting the growing pains as
the amount of video consumed continues to increase. The
IAB’s Video Council has moved to address some of those
issues and launched VAST in the UK. This gives advertisers
the ability to roll out a large network campaign and
receive relevant reporting without all of the pain that
traditionally has gone with it.
The next stage is interactivity. We know that video
whether on TV, cinema or online rules the roost as brands
look to engage with their target audience but it is only
online that can truly take that initial brand message to
the next engagement level by giving the user the ability
to pause the content they are watching and deepen their
relationship with the advertiser.
At EyeWonder approximately 20% of our German in-stream
campaigns have an interactive element. This can be
multiple videos, a game, content downloads, a post code
locator, the ability to buy. All of the things that you
expect from an online display campaign, which, at the end
of the day an in-stream ad is.
The advertiser can choose how best to build on the initial
brand message and turn a user into a customer. This has
yet to catch on in the UK and I am looking forward to
seeing that change in 2011 as the UK matures and we open
our eyes to some of the great work that is being delivered
in other markets using the full potential of the internet
whilst delivering the fantastic brand messages.
Sponsored by
PG.21
1.
Scottish Widows Supplied by: Sky Digital Media
CAMPAIGN TYPE: Pre-roll video
OBJECTIVE: To generate awareness of the Scottish Widows
sponsorship of the London 2012 Olympic & Paralympics games.
SOLUTION: The pre-roll video ran 2.9 million impressions
in February during the Winter Olympics targeting the Sky
News audience due to their disposition towards private
investments and an upmarket audience.
PG.22
RESULTS:
• Awareness of the Scottish Widows sponsorship of the
2012 Olympics & Paralympics increased +50% and awareness
of the online campaign increased significantly by +50%.
• The pre roll delivered a +13% increase in ‘top of mind’
awareness of Scottish Widows when respondents were asked
to name a private financial investor.
• Favourability of Scottish Widows produced a +13% increase
in brand favourability and pushed it into first place for
favourability next to close competitor Aviva.
• The campaign solicited a +9% uplift in purchase
consideration with 1 in 4 exposed respondents stating
that they would now consider Scottish Widows when buying
private investments.
• The pre roll
for Scottish
significantly
Widows offers
2.
also shifted all key brand attributes
Widows but more specifically the pre roll
shifted agreement in the statement ‘Scottish
a world class performance’ (+33%).
Swiftcover.com - Supplied by: SeeSaw.com
CAMPAIGN TYPE: Pre and mid-roll video
OBJECTIVE: To reach new audiences (driving incremental
reach) and increase brand awareness.
Steak ran the advert with
several broadcasters and was
a launch partner with SeeSaw,
using pre- and mid-rolls
around content that had been
identified as skewed to the
Swiftcover audience, for the
course of several months.
Online video also served as
a platform to test multiple
versions of new creative
before airing on TV.
RESULTS: Online brand awareness increased by 24% over just
four months, and by 86% compared to the year before. 54%
of users on SeeSaw also agreed that the adverts did not
impact upon their viewing.
Sponsored by
PG.23
VIDEO BUYER’S GUIDE
3.
Strongbow ‘Bowtime’ - Supplied by: Tremor Media UK
CAMPAIGN TYPE: vChoice Interactive Pre-roll
OBJECTIVE: To extend the
incremental reach of the
Strongbow broadcast television
campaign online, leveraging
engagement mechanisms and using
the existing 10 & 60 second
long television spots.
144%
107%
29%
Telecom
FMCG
Entertainment
% lift in CTR of vChoice over
standard preroll units
SOLUTION: The 10 second television spot acted as the
initial pre-roll unit, followed by a bespoke menu slate,
with options to view additional video content – either the
longer show case ad or the “making of” video. The ad unit
was targeted and optimised against sites with Strongbow’s
target core audience of men 18-34.
Strongbow 10 second preroll (Visual 1)
vChoice Menu Slate (Visual 2)
RESULTS: The completion rate of the initial pre-roll was
in excess of 90%. Over the period of the campaign, an
impressive 1.5% of users chose to view one of the video
selects. As well as being able to calculate voluntary
time spent and engagement with the brand, the units saw an
uplift in overall CTR of approximately 100%.
PG.24
4.
Vimto - Supplied by: InSkin Media
CAMPAIGN TYPE: i-Roll (interactive pre-roll)
OBJECTIVE: To drive users to play
the ‘Seriously Mixed Up’ Vimto
game, and interact with the brand.
SOLUTION: Use InSkins i-Roll
format to push users to play.
When a user clicked, we brought
the game to the user, in an
i-Frame overlaying the site on
which the user was on.
RESULTS:
•
•
•
•
•
•
•
415,000 ads viewed
301,021 users reached
CTR – 13.62%
Formats – i-Roll (interactive pre-roll)
Pre Roll Length – 20 seconds
Average Dwell time on the game – 1 minute 37 seconds
Primary Audience – Youth 14-20
Effective Cost Per Click – 22p.
5.
Kellogg’s - Supplied by: Web TV Enterprise
CAMPAIGN TYPE: Pre-roll
OBJECTIVE:
• Raise awareness of Kellogg’s Optivita.
• Target a 40+ female health conscious audience using
carefully selected Web TV channels.
• Encourage click-throughs to the official Optivita site.
• Drive engagement and consideration for Kellogg’s Optivita.
PG.25
VIDEO BUYER’S GUIDE
SOLUTION:
• Selected relevant online video channels featuring the
target audience
• Select content when audience is most engaged and likely
to interact with the brand message
RESULTS:
• The average CTR for the campaign was 3.1% with Marie
Claire delivering 5.5%.
• Kellogg’s acknowledged the relevance of the channels the
campaign featured on.
5.
Nationwide World Cup, FATV -
Supplied by: myvideorights
CAMPAIGN TYPE: Pre-roll, sponsorship
OBJECTIVES: To amplify
Nationwide’s headline
partnership with the England
Football team in the build up
to and during the 2010 World
Cup. 2. Deliver relevant
environments and incremental
reach outside broadcast TV
for Nationwide England team
TV advertising. 3. To drive
users to the Nationwide site
to sign up for new accounts.
SOLUTIONS: The FA’s World Cup
content to most of the UK’s
top media owners including
YouTube and Facebook.
PG.26
CUT
TO
RESULTS: A unique solution for Nationwide where content
became the medium. The campaign delivered over 1.2
million additional unique users across 1.6 million preroll impressions. Myvideorights exclusively served these
impressions across a network of over 20 websites.
The campaign delivered an average CTR of over 3.5%, which
doesn’t even account for the branding effects.
6.
Marks and Spencer TV - Supplied by: Adjust Your Set
CAMPAIGN TYPE: Interactive branded content
OBJECTIVE: M&S TV was launched in March 2009 and has grown
steadily since then with a range of objectives including:
• Raising the level of customer engagement on www.
marksandspencer.com
• Bring the brand personality alive online
• Build brand advocacy through social integration
• Increase sales through integration of ecommerce “click to
buy”
SOLUTIONS: M&S TV is a collection of films divided into
multiple channels. Each channel focuses on a particular
theme or department. A central commissioning team
consisting of staff from
both M&S and Adjust Your Set
manages the channel as well
as planning future content
and measuring consumer
response. The content comes
integrated with “click to
buy” links that allow users
to purchase the products
seen directly within the
video player. Content is
also widely syndicated with a special service integrated
with Facebook. In September this year we launched
“Myleene’s Makeovers,” (pictured) a TV style makeover show
that lead to a doubling of engagement times on the channel.
RESULTS:
• Three times as many product views when supported with video
• Up to twice as many repeat visits and doubling of dwell
times for customers who watch M&S TV as those who don’t
• Average uplift in basket size of 25%
PG.27
VIDEO BUYER’S GUIDE
7.
Prudential, Pension Surgery -
Supplied by: Sound Creative
CAMPAIGN TYPE: Interactive branded content
OBJECTIVES: With the average
UK pension pot being under
£20,000 at retirement,
Prudential wanted to encourage
their customers who were 15
to 5 years from retirement
to increase contributions to
their pensions or re-ignite
their pension savings. A key
objective was to use a lower
cost alternative to hotel
based seminar events to communicate with their audience.
SOLUTIONS: An interactive webTV show was created to enable
viewers to understand how they could find ways to free up
part of their monthly budgets to top-up their pensions. To
support the show, a series of HTML emails were created and
sent to existing and potential customers to solicit their
questions.
RESULTS:
• Over 30,500 views of the Prudential Pensions Surgery
live and on-demand
• 100+ questions sent in to the live programme
• Email open rates avg. 15%
• Yielded vast cost savings, resource efficiencies and
tangible ROI on campaign investment with number of
enquiries and pensions topped up or re-ignited.
CUT
TO
8.
Jaeger “Shop The Catwalk” - Supplied by: Sound Creative
CAMPAIGN TYPE: Interactive branded content
OBJECTIVE: To develop the level of engagement with their
customers across the site and increase basket size.
SOLUTION: The season launch for the new product range was
filmed to enable customers to get a better sense of how the
items could look versus standard product imagery.
PG.28
However, to engage the customer further and provide a
seamless step from the video to the shopping basket the
video was encoded with LinkTo™ technology. This enables
‘hotspots’ to be placed on the items and track them as they
walk down the runway at the fashion show. This means that
at any time the viewer can roll their mouse over an item and
click on its hotspot. At this point the viewer can then read
further information about the product or add it to their
shopping basket. Graphic links and MPUs were placed on the
homepage and throughout the site to encourage customers to
‘Shop The Catwalk’ and to the LinkTo™ encoded video.
RESULTS:
• Over 26,500 views of the “Shop The Catwalk”
Spring/Summer 2010 video
• 27% engagement rate
• 13% click through rate
• 300% increase in basket size
9.
Tesco Phone Shop Supplied by: Latitude Digital Marketing
CAMPAIGN TYPE: In-video overlay
OBJECTIVE: To increase brand awareness through in-video
advertising to help boost the search results.
OBJECTIVE: On 5th September 2010, Latitude launched an ‘invideo overlay campaign’ with a companion banner on Youtube.
Sponsored by
PG.29
VIDEO BUYER’S GUIDE
Using Adwords Editor, the campaign has been set up on
three levels i.e. category targeting, keyword targeting and
demographic targeting.
he campaign has been regularly optimised to ensure that it
T
continued to result in growing impressions. This was done
by pushing relevant traffic to the ads through building out
keyword lists and adgroups.
RESULTS:
• Two million impressions in one month for Tesco
Phone Shop
• 20,000 clicks in one month demonstrating an increase in
brand awareness
• 600% increase in search visits on a daily basis to Tesco
Phone Shops website since the start of the in-video
advertising campaign
CUT
TO
10.
BT Vision - Supplied by: ITV.com
CAMPAIGN TYPE: Sponsored content
OBJECTIVE: 1. To raise awareness of BT Vision, as well
as understanding that BT Vision is a digital TV service
with VoD service. 2. To create cross product benefit for
BT Broadband, in the sense that BT Vision requires BT
Broadband.
SOLUTIONS: ITV created a bespoke content area on the ITV
Player, with content that was available to watch in full
at the time, and BT sponsored the ITV Player for three
PG.30
months. Each week, five different clips were selected by the
ITV Editorial team and promotional traffic drivers across
the ITV Player and ITV.com sites were used to generate
interest.
Halfway through the campaign, ITV also ran a competition
to win a flat-screen, LCD TV which helped to maintain
engagement with the ITV.com users and collect data for BT.
METHODOLOGY USED: ITV’s Cross Platform Monitor (CPM) is a
way of measuring video effectiveness across ITV.com carried
out in conjunction with Survey Interactive.
Campaigns that qualify are tagged and followed across the
ITV.com website. At the end of the campaign visitors to
ITV.com are served with an overlay survey asking about
exposure to the relevant ad on ITV.com and ITV channels. We
then examine 4 discrete sample groups: - Unexposed to any
of the campaign, Solus Web exposed, Solus TV exposed and
Dual exposed. We then look to see the uplifts between each
group and the unexposed sample.
RESULTS: Video and static formats 10% increase in ad
awareness versus an unexposed group. When this was added to
the effects of the TV campaign, awareness rose by 41%
BT provided ITV.com with a number of KPI statements to test
against.The average increase against an unexposed group was
46% for Solus online exposure versus the unexposed group.
When added to TV the average increase was 198%.
A
ttribution to BT Vision rose by
50% for the statement of “more of
the TV than you want” for people
solely exposed to the BT Vision ad
on ITV.com, and when TV was added
to the mix this figure rose to a
300% increase.
I
n homes respondents were already
Sky subscribers, and therefore
locked into a long term contract.
The online campaign was able to convince c. 40,000* homes
to subscribe to BT Vision.
* - Based on BARB – Sky in c..4m homes. 1% of 4 million = 40,000.
Sponsored by
PG.31
Directory
Channel 4
Martyn Banham
MBanham@Channel4.co.uk
MyVideoRights
Ian Samuel
ian.samuel@myvideorights.com
ITV plc
Frank Mulhall
Frank.Mulhall@ITV.com
Simply Media TV
Justin Khaksar
justin.khaksar@simplymedia.tv
LoveFilm
Jo Underhill
jo.underhill@lovefilm.com
Smartclip UK
Sam Kayum
Kayum@smartclip.com
Microsoft
James Grant
jagrant@microsoft.com
Tremor Media UK Ltd.
Dan Ruch
druch@TremorMedia.com
News International
Damon Garwood
Damon.Garwood@newsint.co.uk
Vibrant Media
Tom Pepper
Tom.Pepper@vibrantmedia.com
Media Agency
SeeSaw.com
Ben Williams
ben.williams@seesaw.com
WebTVEnterprise Ltd.
Jamie Estrin
jamie@webtventerprise.com
Carat
Julie Jeancolas
julie.jeancolas@carat.com
Sky Digital Media
Nicola Harris
Nicola.Harris@bskyb.com
Research
Manning Gottlieb OMD
Lucy O’Dwyer
lodwyer@manninggottliebomd.
com
Turner Media Innovations
Colleen Kearney
Colleen.Kearney@turner.com
Broadcast PR Agency
Markettiers4DC
Russell Goldsmith
russell.goldsmith@
markettiers4dc.com
Creative Agency
Sound Creative
Scott Jackson
Scott.Jackson@
soundcreative.co.uk
WAX Agency
Patrick Holtkamp
patrick.holtkamp@waxagency.
com
MEC Global
Richard Fuller
Richard.Fuller@Mecglobal.
com
MediaCom
Emily Bray
Emily.Bray@mediacom.com
Mindshare
Bryan Magee
bryan.magee@mindshareworld.
com
MPG Media Contacts
Jas Gierlinkski
jas.gierlinski@uk.mpg.com
Phd
Camilla Day
Camilla.Day@phdnetwork.com
Starcom
George Constantinou
George.Constantinou@
smvgroup.co.uk
YouTube
Bruce Daisley
brucedaisley@google.com
Videojug
Alex Craven
alex.craven@videojug.com
Virgin Media (IDS)
Glen Duncan
Glen_Duncan@idigitalsales.
co.uk
Virgin Media
Mark Arnold
Mark.Arnold@virginmedia.
co.uk
Network/Solution
Provider
Adjust Your Set
Chris Gorell Barnes
chris@adjustyourset.tv
Media Owner
Fox Networks
Steve Broadhead
Steve.Broadhead@
foxnetworks.com
BBC Worldwide
Matt Girling
matt.girling@bbc.com
InSkin Media Ltd.
Steve Doyle
steve.doyle@inskinmedia.com
PG.32
Experian
Dave McCall
Dave.McCall@uk.experian.com
Technology/
Production
Auditude Inc.
Damian Scragg
damian@auditude.com
Brightcove
Cameron Church
cchurch@brightcove.com
DoubleClick
Adrian Mulryan
amulryan@google.com
EyeWonder
Robert Black
rblack@eyewonder.com
Indigo Papa
Alex Bridges
alexbridges@indigopapa.com
Mediamind
UK Sales team
uksales@mediamind.com
Ooyala, Inc.
Bill Gash
bill.gash@ooyala.com
Videoplaza
Gavin Morgan
gavin@videoplaza.com
Internet Marketing Handbook Series