Facebook already allows advertisers to reach mobile users by device type, as well as different device models and operating systems. Now it’s expanding mobile targeting further by allowing marketers to tailor ads based on the speed of a user’s network connection — 2G, 3G or 4G. The new feature is aimed especially at high-growth countries like India, where people mainly access the Internet through mobile devices but may have widely varying network speeds and rapidly changing telecom infrastructures. “This fragmented environment makes it difficult for businesses to reach people with valuable experiences on their mobile devices,” stated a Facebook blog post Wednesday. The company said the ability to target by bandwidth connection will help ensure a smooth user experience on any given device and network speed. A video ad targeted to people in Indonesia, where many have only 2G connections, for example, would be a waste if users couldn’t load the video easily. “Optimizing the creative — for instance, targeting a video campaign to people with high-speed connections, and swapping in an image or link ad for people with slower connections — means ads can perform more efficiently for the people seeing them,” wrote Brendan Sullivan, a Facebook product marketing manager, in the post. Facebook said advertisers like Vodafone in India are already seeing positive results in testing the new bandwidth-targeting capability. Today’s announcement comes about a month after the social network highlighted steps it is taking to connect advertisers with its 1.3 billion users globally, especially in emerging regions. One example in India is that someone can place a “missed call” by clicking a Facebook ad from their phone. In the return call, that person receives content such as music, cricket scores or celebrity updates along with an advertiser’s message, without using airtime or data. Last month, the company also said it had extended targeting features available in the U.S. and U.K., like reaching people according to life-stage and geotargeting to high-growth countries, such as India, Nigeria, Turkey, South Africa and Indonesia. Bandwidth targeting is now available to advertisers worldwide -- including in the U.S. -- through Facebook’s Ad Create and Power Editor tools, as well as its API. The company noted that all user data is anonymous, and that audiences for mobile network targeting are based on aggregate groups of people based on their primary connection type.
At a time when Madison Avenue seems to think all-things-digital, advertising awards curator The Gunn Report has assembled a visually powerful reminder that print media is more than just dead trees. The aptly titled “The Power of Print” report organizes the best of the best from more than 15 years of breakthrough creative ideas that could only resonate in print media, including magazines, newspapers and out-of-home. The report, which ironically is available only in digital form (download it here), is an emotionally engaging showcase highlighting everything from TBWA\Chiat\Day’s iconic “Think Different” campaign for Apple (see accompanying image) to provocative public service efforts like the barcoded tiger depicted in Tiger Trust’s “Sale Must End” campaign (see below). “In bygone days, good agencies invested considerable time and money in the training and education of their young people,” the report explains, noting: “Nowadays, alas, this has largely gone by the board - thanks to lower margins, fewer people and, as [TBWA Chairman] Jean-Marie Dru expresses it about delivering work ‘the move from a quarterly to a daily cadence'." The report organizes print’s best cases in 13 formats ranging from informational to dramatized.
Celebrity weekly publisher Bauer Media U.S. has created a new division within the company focused on the publisher’s digital assets, with an eye to expanding its online offerings. Among other things, the new digital media group, called Bauer Xcel Media, will develop new products catering to the rapidly changing media consumption habits of teens and young adults. Leading the Bauer Xcel Media group is newly appointed President Christian Baesler, who formerly served as vice president for new media at Bauer Media U.S. He heads a staff of 24 employees spanning disciplines including editorial, technology, design, marketing and product management. The division’s first major project, the re-launch of InTouchWeekly.com, is scheduled for September. This follows last year’s re-launch of multiple Bauer Web properties targeting the teen audience, including J-14.com, M-Magazine.com, and Twistmagazine.com, all of which debuted new versions in June 2013. According to Bauer, the total traffic to its various teen sites has more than tripled over the last year -- from 1.4 million unique visitors per month to 4.5 million -- while the traffic to InTouchWeekly.com has increased around sixfold, to 4.4 million, and LifeandStylemag.com’s visitors increased almost tenfold to 5.3 million. Overall traffic to the company’s Web properties has jumped around 350% to 15.6 million unique visitors per month. Hubert Boehle, CEO of Bauer Media U.S., stated: “Bauer is the market leader in print in many countries and the No. 1 seller of magazines at retail in the U.S. We are confident that Bauer Xcel Media will bring that same success to our online business as we continue to evolve and grow in all areas of media.” Bauer is also pushing ahead on the print side. In October 2013, the publisher launched a new celebrity weekly, Closer Weekly, targeting women ages 40 and up with a mix of celebrity and lifestyle content and a “feel-good” editorial philosophy. The company also launched “Celebrate for Women” and “Girls’ World” around the same time.
GroupM, the media management arm of WPP, has promoted Colin Barlow to the role of chief operating officer for GroupM Global, a new position at the company. In his new post, Barlow will lead financial oversight, acquisitions, corporate partnerships, and operational efficiencies of tools, systems and processes. He will also contribute to the oversight of trading operations. Previously, Barlow served as GroupM global chief financial officer since 2007. In that role, he was responsible for all financial and information technology management activities for GroupM operating companies -- which include Mindshare, MediaCom, Maxus, MEC and Xaxis. Earlier, Barlow served as CFO of GroupM EMEA and previously worked at companies including Razorfish and Arthur Andersen. Barlow reports to Dominic Proctor, president of GroupM Global, and is based at the company’s North America headquarters in New York City. His role is effective immediately. Stuart Diamond, previously the GroupM North America CFO, will succeed Barlow as the company’s global CFO. “We have ambitious plans to continue to grow our business rapidly, and to do so, it has been clear to me that we need to strengthen the management team,” said Proctor. “The creation of this role is in line with our efforts to increase effectiveness across our operations and to continue to provide our agencies with outstanding operational efficiencies.” Proctor added that Barlow’s combined background in finance and technology make him well suited for the COO role. “With his experience, he will be able to effectively provide strategy and leadership with our teams across finance, technology, analytics/data, trading and global human resources.” Commenting on his appointment, Barlow said that over the last several years “the activities of media agencies have become incredibly complex. Our agencies strive furiously to simplify and help navigate media complexity, while at the same time delivering in-depth insight and excellent execution. I’m passionate about building the platforms and partnerships that can help the agencies deliver in the 100-plus markets in which we operate.”
Across the spectrum of mobile advertising, smartphones handily beat out tablets and in-app advertising outpaced the mobile Web in impression volume in the first half of 2014, according to mobile ad firm Medialets' Mobile & Tablet Advertising Benchmarks report. The vast majority (88.3%) of mobile ads served from January through June, 2014 were served to handsets, with the remaining 11.7% begin served to tablets. In-app inventory accounted for 58.2% of all ads, while the mobile Web made up 41.8% of impressions. For its Mobile & Tablet Advertising Benchmarks report, the company analyzed over 300 billion mobile ad impressions from January 1 through June 30, 2014. A company representative said it’s “all mostly programmatic traffic … analyzed from publishers, networks, DSPs and exchanges.” While smartphones have a big head start, the data suggests that, looking ahead, tablets will command more attention. The click-through rate on tablets was 0.59%. While that is a meager number on its own, it’s 44% higher than the click-through rate on handsets (0.41%). Going deeper, in-app advertising is set to become even more of a focus for advertisers. The click-through rate for in-app ads was 0.56%, compared to just 0.23% for the mobile Web. Retail accounted for 37.9% of all mobile impressions over the first half of the year -- data that is in line with a recent Smaato report that says retail is now the number one vertical when it comes to spend in mobile RTB. Combined, networks and exchanges accounted for less than one-fourth (22.4%) of all impressions. The full breakdown: Network (48.3%), publishers (29.3%), DSPs (18%) and exchanges (4.4%). However, ad exchanges and DSPs are the two fastest-growing mobile inventory sources -- and it’s not even close. Networks saw their inventory growth increase by 84.9% from Q1 to Q2, 2014, while publishers saw 71.7% growth. On the other hand, exchanges saw over 500% growth quarter-over-quarter, and DSPs saw 455.6% growth. The click-through rates from exchanges (0.11%) and DSPs (0.30%), however, are abysmal. Networks (0.60%) and publishers (0.47%) still boast significantly better click rates.
Guitar Center is playing a new tune. The music equipment retailer has named Publicis Groupe's media agency Starcom USA to oversee its U.S. planning, buying, analytics, and "human experience" strategy business. The assignment will be run out of Starcom's Los Angeles office. Eddie Combs, SVP of Marketing at Guitar Center, cited Starcom’s blend of classic media approaches and grasp of analytics as key factors in landing this account. Others participating in the review included incumbent Horizon Media, as well as UM, the IPG Mediabrands shop and Los Angeles-based independent Palisades Media, according to sources. “We are thrilled to begin our partnership with Guitar Center,” said Starcom USA CEO Lisa Donohue. “Coupling our team’s passion for designing meaningful consumer experiences with our rigorous data-led approach, we look forward to evolving the Guitar Center brand into the future." The company spent nearly $22 million on ads in the past year, according to Kantar. The agency shift originally began in September 2013 after its agency KSL Media filed for bankruptcy. Horizon Media assumed duties with the understanding that the company would launch a formal review in the coming months. Starcom will now handle Guitar Center's s "All we sell is the Greatest Feeling on Earth" campaign. Last week, Guitar Center announced DJ and producer Steve Aoki as the latest artist ambassador, following appearances by Questlove (The Roots) and James Hetfield (Metallica). Aoki’s spot will debut nationwide on August 18, 2014. The campaign – which runs across print, broadcast, digital and online – was created by Guitar Center with each artist sharing their personal experience about the joy that music brings to their lives. Guitar Center is continuing to roll out new commercial spots and additional artist ambassadors on a quarterly basis. This year marks the 50th anniversary of Guitar Center, which continues to evolve its Vision 2020 initiative, whose broad goal is to grow revenue to $3 billion by 2020. Based in Westlake Village, CA, Guitar Center has over 260 retail stores across the U.S.
Americans lag behind their Asian and European counterparts when it comes to online shopping, according to a study from Nielsen. They tend to research their purchases online (63%), look up reviews (63%) and find online shopping convenient (78%), but they are hesitant to pull the trigger and actually make their purchases online. Asia-Pacific has the highest online buy rates -- China and South Korea are leaders in cosmetic products and groceries. Western Europe leads the way on CPG E-Commerce -- Britain has increased to $91M in Q1 2014 from $70M in Q1 2013 and France has increased from $32M to $42M in the same time period. Compared to a similar study that Nielsen conducted in 2011, there are significant jumps in certain categories. Americans are now more open to buying in certain online categories including airlines, electronic equipment, ebooks, music and clothing/shoes. For airline reservations, 43% purchased in 2014 versus 19% in 2011 and hotel/tours -- 43% in 2014 versus 16% in 2013. Electronic equipment rose to 31% in 2014 versus 15% in 2011 and ebooks climbed to 35% in 2014 versus 11% in 2011. In the music category (non-download) purchases rose to 31% in 2014 versus 18% in 2011. Finally, purchases of clothing and shoes rose to 43% in 2014 versus 35% in 2011 There are several reasons that Americans are not more open to shopping online. Some 46% said they don’t like to buy online because of shipping costs, and 37% of Americans said they don’t trust giving their credit card information online. The good news for brick-and-mortar retailers is that Americans still say we prefer going to retailers in person to buy our products. We will research online, but we still like to purchase in person, particularly for consumable products such as personal care, health and beauty, food and beverage, pet food and baby supplies. Sixty-three percent of American respondents said they like to read online reviews before buying a product, and 63% of American respondents said they often look at products online before purchasing them in the store. The takeaway for retailers is that they can’t afford to ignore their consumers online -- online browsing and research is extremely important to consumers who often do the research legwork online before going to their local retail outlet. “While online transactions make it easy to download a book, buy a ticket to a sporting event or book a hotel room, building a consumer base for consumable categories requires more marketing muscle,” said John Burbank, president of strategic initiatives, Nielsen, in a release. “Finding the right balance between meeting shopper needs for assortment and value, while also building trust and overcoming negative perceptions, such as high costs and shipment fees, is vital for continued and sustainable growth.”
Google said Tuesday that it has acquired video and special-effects startup Zync Render to build on its video production and cloud-computing services. Zync provided the video and special-effects rendering technology behind "Star Trek Into Darkness" and "Looper." The service -- which supports movie studios with a cloud infrastructure to store large files for full-length tracks -- operates on Amazon cloud-based servers, but the Mountain View, Calif. company plans to move Zync to its own cloud platform. It would require Zync's Hollywood clients to switch from Amazon to Google, and puts one more wedge between the two companies. Zync's software and Google's Cloud Platform will offer studios the rendering performance and capacity required to process huge amounts of data required for special effects. Cloud computing remains one of several competitive challenges that Amazon and Google face. Earlier this week, news organizations reported Amazon's focus on building out an advertising platform to leverage the massive data stores built from its millions of customers and businesses selling merchandise in its online marketplace. Amazon will build a self-service ad platform similar to Google's AdWords that allows brands to target consumers with messages through sponsored links, per reports. Based on search, the queries would return results related to specific keywords. Google and Amazon are not the only companies touting cloud services. Dropbox on Wednesday released new sharing controls and more data storage to 1 terabyte for its Pro service. The passwords for shared links create an additional layer of security so only people with the password can access the link. Users can set an expiration day for shared links to safeguard sensitive files, and list view-only permissions for shared folders to determine whether recipients can edit or simply view files within the shared folder. Another feature allows users to remotely delete files through a feature called Dropbox Remote, which deletes files from a lost or stolen device while keeping them safely backed up in Dropbox.
Snapchat is said to be rounding up more capital at a valuation of $10 billion, but Alibaba Group Holding appears to be out of the mix. In its place, Kleiner Perkins is reportedly placing a big bet on Snapchat. The highly visible venture capital firm has already committed upwards of $20 million to the messaging service, according to multiplereports. Snapchat representatives did not return requests for comment, on Wednesday. To date, Snapchat has raised roughly $100 million from Lightspeed Venture Partners, Benchmark and Institutional Venture Partners, among others. Some notable investors have said they expect the anonymous social networking trend to be short-lived. Yet, the numbers tell a different story. Beating out its social rivals, Snapchat experienced the highest growth in time spent, in July, with total minutes up 114% year-over-year -- from 2.6 billion to 5.5 billion minutes -- according to a recent note from JPMorgan, citing comScore data. (To put those numbers into perspective, Facebook saw its time spend rise from 137 billion to 178 billion minutes, during the same period.) The Wall Street Journal also reported this week that Snapchat has hit 100 million active monthly users. Some industry watchers say Snapchat’s popularity is bad news for advertisers, because it represents a turn toward personal privacy and digital anonymity. Snapchat, however, has every intention of making its network a friendly place for brands. Among other efforts, the company is reportedly developing a new service, dubbed Snapchat Discovery, which will “show content and ads to Snapchat users,” The Wall Street Journal reported earlier this month. Sources told WSJ to expect Discovery to debut by November. The company also recently added location-based filters to its growing list of personalization features, which hinted at some big opportunities for brands. Indeed, a video demonstrating the “geofilters” featured users snapping selfies in front of a SoulCycle, a Groundwork coffee shop and Disneyworld. Suggesting a clear path to promotional initiatives, each location offered visitors branded images to include in their snaps. Upon its launch in July, agencies and social media pros said they saw dollar signs in the new feature. “For brands, while it's still a fairly shallow way to engage with the program … the opportunity to position a logo on snaps taking place at a retail or event location is of course an attractive prospect,” said Grace Gordon, strategy director at social agency We Are Social. Many on Madison Avenue have been happy to experiment with Snapchat. Following Taco Bell’s lead, McDonald's joined the service earlier this year, while Heineken recently relied on Snapchat to connect with festival goers at Coachella. Among brands, other early adopters include Juicy Couture, Seventeen, NPR and HBO's "Girls." To bolster its business side, Snapchat also recently poached the global director of Facebook’s Preferred Marketing Developer program, Mike Randall. Randall officially serves as vice president of business and marketing partnerships at Snapchat. For a while, vanishing pictures helped Snapchat stand out in a messaging market dominated by giants like Facebook and Apple. Yet, the company has been pushing into other areas, such as live-event coverage and more mainstream mobile messaging services. For example, the company recently hitched its “Our Story” feature to FIFA’s World Cup final. The service’s entire community was given access to a stream of curated content created by those lucky enough to attend the big game between Argentina and Germany. Snapchat debuted “Stories” late last year -- a feature that lets users save and share photos for up to 24 hours. Adding a collaborative component to the service, the start-up more recently unveiled “Our Story,” so people at the same events can combine their own “snaps” into a single “story.” Snapchat also recently rolled out a text- and video-messaging feature named Chat, while making it easier for users to save their exchanges with friends.
Hulu says in new court papers that it's entitled to prevail in a lawsuit accusing the company of violating a federal privacy law by allegedly sharing users' personal information with Facebook. The lawsuit centers on allegations that Hulu wrongly shared information with Facebook via the “Like” button, which loads automatically when users watch video on Hulu.com. Between April of 2010 and June of 2012, the “Like” button was configured so that it transmitted titles of the videos that people watched to Facebook's server -- regardless of whether users clicked the button to indicate that they “liked” the clips. Hulu argues in its newest court papers that there's no evidence it knew that adding Facebook's “Like” button to the site would result in the transmission of information about users to Facebook -- which was accomplished via cookies. “Nothing in this comprehensive record shows a knowing disclosure of [personally identifiable information] by Hulu,” the company argues in a motion for summary judgment filed on Tuesday with U.S. Magistrate Judge Laurel Beeler in the Northern District of California. “In fact, the evidence shows the opposite: Hulu did not know that Facebook’s cookies contained the Facebook User ID, or what Facebook did, if anything, with any such data.” Hulu adds that it placed the “Like” button on the site in order to enable users to promote content. “It was not done at the request of Facebook or as a result of any negotiations with Facebook,” Hulu says. The consumers who are suing allege that Hulu ran afoul of the federal Video Privacy Protection Act, a 1988 law that prohibits movie rental companies from disclosing information about which videos people watch. Congress passed the law after a newspaper in Washington obtained and published the video rental records of Supreme Court nominee Robert Bork. Hulu argues in its latest motion that placing a social widget on its pages isn't comparable to disclosing a consumers' movie-viewing history to the media. The company specifically says it isn't “in the same position as a video store owner who purposefully hands a newspaper reporter a piece of paper containing the name of a Supreme Court nominee and the titles of 100 videos that he rented.” Beeler recently narrowed the case against Hulu by dismissing allegations that it violated the law by also transmitting data about users to comScore. She also ruled that the consumers weren't entitled to class-action status -- though lawyers for the consumers have said in court papers that they intend to renew their request to proceed as a class. But the company lost a critical battle in this lawsuit two years ago, when Beeler ruled that the federal video law applies to companies that stream video on the Web. She said in her decision that the law aims protect the privacy of people who watch video regardless of technical format.
Since the mid-2000s, Madison Ave has been compared to Wall Street. This helped fuel innovation and investments, and brought more scientists and engineers into the area. Despite all of the good, the industry is now seeing some of the bad and the ugly by trying to put forth the financial stock exchange model as the primary method for purchasing online advertising. The problem with this is that the financial exchange and ad marketplace are fundamentally different. An ad impression is simply not a stock. The Good When ad exchanges were presented as equals to the financial markets, they were great for the advertising marketplace. This comparison helped convey a proven model, define market efficiency, add automation, and introduce standards for impressions. Heck, it even put forth the idea of fairness. Introducing the concept that every buyer competes on the same basis for a given impression just like we do for a financial commodity was good for the marketplace. The Bad Ad exchanges provide less transparency, standardization, and clearing than their financial exchange big brothers do. First, transparency is difficult because -- among other things -- exchanges simply offer ad inventory by the tonnage through an auction model, while buyers have to bring their own data and make sense of the exchange through experience. Despite many advertising leaders discussing data-driven decisions, there is no good data on the impression level for both buyers and sellers. The more transparent the data, the better the chance for a good buying decision. Standardization is important for stock exchanges, since it is the basis to become a truly efficient market. In the ad exchange world, the MRC just this year started to rate impressions based on viewability. Many believe this is just a baby step to remove bots, fraud and junk inventory, and more standards are needed to keep the bad actors out and gain creditability. Clearing in a financial exchange is a way to tackle problems such as price and discrepancy between buyers and sellers. On Madison Ave, parties need to work things out themselves with inefficient means like “makegoods.” Also, when fraud or non-payment happens, the publisher is completely at risk. Wall Street, on the other hand, is heavily at the center of their activities and has a process for accountability, and account systems for non-payment. The Ugly Many believe it is silly to compare the stock market to today’s ad exchanges due to the fact that media markets trade on a much bigger scale than stock exchanges. For example, the New York Stock Exchange has 30 billion trades per day, and today’s estimates have the ad market in the U.S. at 400 billion transactions and growing. The ugliness continues with the inefficient dissemination of price information. In financial markets, the players simply include a buyer, seller and an exchange. An ad exchange can be more complex, with buyer, agency trading desk, DMP (one for buyers, one for sellers), DSP, exchange, SSP, and Ad Server -- each having a fee. Therefore the impression price could be low based on all the hands in the trade. Despite the good, bad and the ugly, the comparison between the two markets has served us well until now. Our ad exchanges are used as a tool to unlock the power of data, move to more automation, technical innovation and media entrepreneurship. Despite their faults, ad exchanges are changing the face of advertising for the better.
The fourth and final season of “The Killing” may turn out to be the best original production yet from industry agitator Netflix. If nothing else, it is turning out to be the most satisfying transition of a series from “traditional” television to a new digital platform. “Arrested Development” (also on Netflix), “All My Children” and “One Life to Live” all suffered creatively in their moves from Fox and ABC, respectively, to streaming services. Not “The Killing.” From what I’ve seen it is better than ever in its new home. I’ll withhold a definitive declaration, as I have watched only the first three of the six episodes Netflix ordered. It is simply too good to rush through and treat as a six-hour movie. I have chosen to live with it for a few weeks and enjoy it during that time. The anticipation of waiting to see what happens next is half the fun. Furthermore, I found that my enjoyment of the second seasons of Netflix’s mighty “House of Cards” and “Orange is the New Black,” two of the most binged series on any platform, was significantly compromised by rushing through them. “Cards” suffered in particular; by the end it seemed to me that all the show had been about was two wealthy and powerful people destroying the lives of everyone around them -- the words “Hulk smash” kept going through my mind. Had I put more space between episodes that might not have been the case. “Orange” also took on a repetitive quality that I won’t get into here out of respect for those who have yet to watch it. My advice is, slow down. Like many people, my relationship with “The Killing” has been mixed at best. I thought the first half of its first season on AMC was as profound as just about anything I had watched on television in many a decade. Then it seemed to lose focus, it didn’t solve its central mystery by season’s end, and it dragged out that same story for an entire second season in a punishingly slow and uninteresting manner. At that point the show was cancelled, but a short while later it was surprisingly un-cancelled, and its third season on AMC proved to be its best. But it ended in a way that left certain significant story elements unresolved. Then its first three seasons proved to have significant Future Viewing Potential on Netflix, and the service smartly ordered up six more episodes to provide a more satisfying conclusion for its binge-prone viewers. Again, these six shouldn’t be rushed through. Something about them strikes me as superior to the episodes I remember on AMC. The production values seem a bit more polished. The performances by leads Mireille Enos and Joel Kinnaman were always first-rate, but they are both truly at the top of their game here -- perhaps because they are allowed on Netflix to play huge dramatic moments with a little more realism. For example, when things are going wrong for their characters, as they always do for Detectives Linden (Enos) and Holder (Kinnaman), they are allowed to drop an F-bomb or two, just as one would do in real-life situations where the pressure was unbelievably frustrating or overwhelming. Also, there are entire sequences in which there is sunshine in Seattle -- and there has been very little rain so far. During the first three seasons it seemed as though Seattle was always gray and rainy and foreboding and awful. But now the region sometimes actually looks quite beautiful and inviting. Linden’s life remains a deep, dark mess -- especially after her actions at the end of Season Three, the ramifications of which continue to play out in Season Four as a sensational subplot. But Holder has actually found some happiness and is trying to balance things out. These occasional moments of relief are something new for this franchise and very welcome. The storyline, about the brutal slaying of most members of a wealthy Seattle family and the strange behavior of its sole surviving member -- a teenage boy enrolled at a strict military academy -- is as absorbing and intense as any other in the history of this show. If I have any complaints with it so far, it’s that the cadets at the academy seem uniformly psychotic in their general nastiness. But the young actors portraying them are doing great work, as is Joan Allen as their commanding officer, a character as mysterious as every other one in this story. I can already imagine Allen, Enos and Kinnaman being nominated for Emmys next year in the miniseries categories, where Season Four of this long-established drama series and its performers will almost certainly be submitted unless the Academy of Television Arts & Sciences gets a handle on its own rules. Regardless, these fresh episodes of “The Killing” are so well done and so rewarding (at least so far) that they could indeed be game-changing. Here’s genuine proof that when broadcast and basic cable networks end shows before their time or in ways that aren’t particularly satisfying to viewers they can indeed continue somewhere else and be better than ever. They can also be brought to a close in the right way, ensuring that generations to come won’t have reason to regret devoting huge amounts of time to watching them in their entirety.
Julian Zilberbrand, EVP of activation standards, insights and technology at ZenithOptimedia Group, said to Beet.TV in an interview that agencies could build more private marketplaces in the next 12 to 18 months. “That’s because private exchanges provide an ecosystem that can be ‘safer’ and possess less potential for fraud and non-human bot traffic, he says,” writes Beet.TV.