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November 14 2017


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September 25 2017


Guardian’s Spears Urges Publishers To Take Control Back From Ad-Tech

COLOGNE — In the last year, publishers’ criticism of the ad-tech vendors that help their digital ad businesses has grown louder, alongside criticism from buyers over lack of transparency.

In the case of The Guardian, the publisher is currently even suing Rubicon Project in court, claiming the company kept “substantial sums” in “secret commissions” and filed “misleading and inaccurate’ monthly reports on buyer spending – claims which Rubicon denies.

No wonder, then, that The Guardian’s programmatic advertising director says the publisher has decided it wants to wrestle control back from ad-tech vendors – and is urging the rest of the publishing community to do the same.

“Publishers have introduced technology in to their ad stack and they have have lost control of their inventory and their audience, of their supply chain,” Danny Spears tells Beet.TV in this video interview.

Spears says programmatic technology now facilitates 80% of digital ad buys for The Guardian at home in the UK – big enough to rebalance the relationship.

“We have gone from (programmatic being) an experiment and minority sport not so long ago to this being the core of our multi-million-pound digital business,” he explains, at the DMEXCo digital ad gathering in Germany. “It means we have to take it seriously .. you need to control your supply chain.

“It’s important we make the decisions about how they’re presented to the market and priced.”

In publishing circles, programmatic platforms have helped ad sales teams automate how they make their spaces available to buyers.

But, amid growing concern regarding not just ad-tech platforms but also the alleged duopoly of Google and Facebook in digital ad sales, voices of dissent from the likes of publisher trade association Digital Content Next are growing louder.

Spears calls the likes of Google and Facebook, specifically, “dominant, influential and important partners”, and he gives some thanks to external tech suppliers.

“We have some really important relationships which mean we benefit from capability which isn’t our own,” he says. “But we do distinguish between technical capability and our media sales business, which we believe is our prerogative.

“There are multiple appetites for control of our business that we have to have,” Spears demands in our interview.

“There are partners within publishers’ supply chains who have an appetite to change the way our business works – we have a view on that. We think that’s our prerogative, we think there’s going to be an interesting debate to be had. It’s really important other publishers get involved in that.”

This video is part a series that examines programmatic from both the seller and the buyer perspective. It is presented by PubMatic. For more videos from the series, please visit this page.

September 24 2017


How Salesforce DMP Helps Brands Find ‘The Next Best Customer’: Chief Strategy Officer Jon Suarez-Davis

COLOGNE – About a year ago, customer management provider Salesforce acquired data management platform Krux Digital, to keep pace with competitors like Adobe and Oracle. With Krux providing new muscle to the Salesforce Marketing Cloud, it has considerably upped the ante in leveraging brands’ first-party data.

Salesforce Marketing Cloud Chief Strategy Officer Jon Suarez-Davis headed up marketing and strategy at Krux. Now that company’s DMP is helping mass marketers from ConAgra to Pernod Ricard take their first-party data and “unify it to individuals” to target them with dynamic creative, he explains in this interview with Beet.TV.

Conagra is using the Salesforce DMP “in a very progressive way,” Suarez-Davis says during a break the DMEXCO advertising and media trade show.

A case in point is how ConAgra uses comScore to blacklist cookies or IDs that may be associated with fraud or bad traffic, then ingests that data into the Salesforce DMP to ensure the company doesn’t bid against any of it, as AdExchanger reports.

Additionally, ConAgra uses the DMP to improve cross-device media and creative sequencing.

Pernod Ricard has used the Salesforce DMP so that its Malibu brand can use its first-party data to target Facebook users using Facebook Leads. The resulting data are then absorbed into the cloud to be used to locate more lookalike models, or “who is the next best customer and what is the right content to deliver to them,” Suarez-Davis says.

“Traditional mass marketers are taken first-party data and really elevating the ability to target that in multiple channels,” he adds.

Although he’s frequently asked about digital transparency in Salesforce’s operations, Suarez-Davis says it’s never been an issue because of how the company values its customers’ trust.

“We don’t sell media nor do we monetize data. We provide a platform that allows marketers and publishers, buyers and sellers, to use that data to increase the effectiveness of their marketing investment and also to drive more value for publishers.”

In this regard, Salesforce can be likened to Switzerland, according to Suarez-Davis.

“We integrate with all the major players.”

This video is part a series that examines programmatic from both the seller and the buyer perspective. It is presented by PubMatic. For more videos from the series, please visit this page.

September 22 2017


CNN ‘More Relevant Than It’s Ever Been’: Chief Product Officer Alex Wellen

COLOGNE – Can a hurricane top a presidential inauguration for grabbing eyeballs? At CNN the answer is a resounding yes.

Breaking news also represents a “balancing test” in being able to monetize those eyeballs most effectively, as CNN Chief Product Officer Alex Wellen explains in this video interview with Beet.TV.

“It looks like CNN is more relevant than it’s ever been before,” Wellen says during a break at the DMEXCO advertising and media trade show.

On digital platforms, consumption of the company’s weekend hurricane coverage was about 80% compared with desktop, according to Wellen. One day of that coverage made it the number one day for the entire year, bypassing the Trump inauguration.

“We had 34 million multiplatform uniques across all of our platforms, largely on mobile first,” Wellen explains.

Video growth has been “immense” for CNN, including its 360-degree coverage of the Total Solar Eclipse from multiple locations and some 9 million live streams, on some 40 different platforms.

As its distribution and reach has grown, CNN is working closely with advertisers “at the onset of these platforms” to create authentic editorial and advertising experiences. “Not an adjacency or an afterthought.”

Breaking news is more appealing to some advertisers than others and they are connected with CNN through automation. “There are some advertisers, particularly through the private programmatic means, that we can connect with this content. They want to reach large audiences at scale.”

At the same time, CNN is “very, very precise and surgical” about which advertisers are aligned with premium, long-form or evergreen executions.

“When we have these spikes, we leverage them with advertisers that are very broad and then when we create bespoke content we can charge a higher CPM, but it is much more around the premium executions,” Wellen says.

He has a problem with the digital term “personalization,” considering it to be “a bit of a cop out” as it relates to scaled technology automating everything. This is because at CNN, being “personal” when delivering content means focusing on curation and relevancy derived from audience insights.

“Product for us is that combination of storytelling and technology and the way they come together to really present something in a way that others can’t really do,” Wellen says.

This video is part a series that examines programmatic from both the seller and the buyer perspective. It is presented by PubMatic. For more videos from the series, please visit this page.


Spotify’s Benedik Wants To Educate Brands On Video Ads

COLOGNE — It is the leading unlimited-digital music subscription service, but Spotify is no longer an audio-only provider.

In fact, Spotify introduced video advertising back in 2014. But, as it gears up to go public, the company is turning up the volume on an ad offering, video, that can likely command higher premiums than audio.

“We’ve been an audio platform for the first 10 years of our existence. We’ve evolved to having short-form video,” Spotify’s sales head Brian Benedik tells Beet.TV in this video interview.

“Some of our playlists are starting to embed video in to the playlist experiences … from artists, introducing themselves. The response from our user base has been very good so far.”

But, Benedik claims listeners are warming to being turned in to viewers, he also says the company has to work to switch on ad buyers to the format leap.

“We have to train our advertisers and partners that video is a great place to be on Spotify,” Benedik adds.

Spotify has grown from 20 million subscribers in two years and had more than 140 million people using the service between the free and paid options as of July, Bloomberg reported, generating  sales of €2.93 billion ($3.45 billion) in 2016.

Digital music subscriptions have helped the music industry turn its total revenue positive again, following years of piracy woes.

This video was produced as part of Beet.TV leadership series from DMEXCO, presented by NBCUniversal. For more videos from the series, please visit this page.

September 21 2017


The Trade Desk Switches On Connected TV

COLOGNE — It is a latter-day addition for the ad-tech firm which helps create marketplaces and leverage data, but The Trade Desk is now full-swing focused on profiting from the over-the-top TV advertising opportunity.

Speaking with Beet.TV in this video interview, The Trade Desk inventory partnerships SVP Tim Sim explained the company’s thinking.

“One of the big growth areas we’re looking at in the future is connected television,” he said. “There’s a huge shift in the way that consumers consume long-form video content. The new TV audience is very interesting and compelling.

“If I (as a buyer) can extend that (marketing) conversation to the bigger screen in the living room through a connected device and address that audience at the household level and utilize my data as a marketer, that’s an extremely compelling offering and something we’re really focused on.

“It’s still very early days in connected television. There’s a lot of devices and applications.”

The Trade Desk’s website now lists connected TV as its primary product. The company has written that connected TV inventory needs to prove its scale, buyers deserve hybrid performance metrics and OTT viewers deserve a better ad experience, including fewer ads.

In February, the company said it wanted to target connected TV, Asia and mobile video as growth opportunities.

In August, The Trade Desk’s CEO told Business Insider: “We’ve seen the amount of inventory in connected TV ads jump 10x to 20s since last year.”

But the company has had to invest in building out its connected TV capabilities, which it now shows off on its website.

More on the company’s expansion in the connected TV space reported today in AdExchanger.

This video is part a series that examines programmatic from both the seller and the buyer perspective. It is presented by PubMatic. For more videos from the series, please visit this page.

September 20 2017


Buyers Want Automation, Digital Insights And Attribution From Programmatic TV: DataXu’s Mike Baker

COLOGNE – In the arms race that is automated or programmatic TV, there’s much realignment occurring among tech players. They know if they’re too slow on the drawing board an Amazon or Facebook or Google will swoop in and beat them to the launch pad.

This is not lost on marketing analytics provider DataXu, which has been in the programmatic space since 2009, fittingly using combinatorial algorithms originally developed by one of its co-founders for guiding NASA’s Mars missions. DataXu has a broad footprint in the demand-side platform side of the business and has set its sights on helping media companies so as to stay one step ahead of would-be competitors Amazon et al.

In this interview with Beet.TV at the DMEXCO advertising and media trade show, DataX CEO Mike Baker explains what the buy-side wants from programmatic TV and the race to beat digital giants to help the sell-side better cope with automated transactions and measurement.

A big focus of DataXu to date has been on connected OTT screens via its core DSP called TouchPoint. Via self-serve software buyers can track campaigns running across seven types of devices, providing the benefit of automation “unlike some of what’s plaguing some of the TV targeting with linear streams,” said Baker.

Along with automation, he identifies application of digital audience insights and campaign attribution as three main issues of interest among buyers. With insights, it can be as granular as using mobile audience data to target a live ad on ESPN.

“That’s really provocative and I think an industry first,” Baker observes. OTT inventory “is much more valuable when you’re able to buy these kinds of granular targets with your data.”

There’s a shift by some ad tech companies toward the digital TV landscape given the continued growth in viewing habits. Then there are Amazon, Facebook and Google come in.

“I think everybody at this point sort of understands this is the next frontier for these companies and they come very well equipped indeed” with data, analytics and other resources. DataXu is busily developing its media company segment to help some of these very large incumbent TV players adapt and fit up to be competitive with these Internet giants as they encroach inevitably on TV,” Baker says.

This video was produced as part of Beet.TV leadership series from DMEXCO, presented by NBCUniversal. For more videos from the series, please visit this page.


IAB UK’s Elkington Claims Progress On Transparency

COLOGNE — Over the last couple of years, both advertising buyers and sellers alike have cried foul over alleged nefarious practices, high margins and unseen misdeeds on the part of intermediaries.

A host of initiatives has risen to combat the lack of transparency, some of them from vendors and agencies themselves accused of hiding ad spending strategies.

But IAB UK chief strategy officer Tim Elkington thinks trade bodies like his own are in prime position to help.

“The message that I would give to the buy side, is that actually trade bodies like the IAB, like JICWEBS, like all of the industry bodies getting together, we’re really working hard to clean everything up,” he tells Beet.TV in this video interview.

“So I’d say to the buy side, work with us, support all of those things that we’re doing, so we can make the industry a better place for everyone.”

Accusations ave been levelled against agencies, for apparently hiding rebates and margins which have seen them hold on to as much as 20% of clients’ media spend, and ad-tech platforms, for pricing unfairly and for similarly holding on to money that never goes toward media.

Elkington was speaking at DMEXCO, the digital ad industry gathering in Germany, where the topics of transparency and fraud were high on the agenda.

In the US, IAB’s TechLab has introduced Ads.txt, a new initiative in which a file placed on a publisher site lists the sources that are allowed to sell their ad inventory.

In the UK, JICWEBS, the Joint Industry Committee for Web Standards, has been auditing platforms for compliance with transparent practices, whilst ISBA, representing hundreds of leading brands, has issued a new template contract it is urging buyers to sign with intermediaries like platforms and agencies, writing transparent practices in to agreed business law.

“Hopefully that momentum will just keep building, and then eventually it will be impossible for the fraudsters to be able to pass off their sort of spoofed or faked inventory as a sort of real, genuine site,” Elkington adds.

This video was produced as part of Beet.TV leadership series from DMEXCO, presented by NBCUniversal. For more videos from the series, please visit this page.


Sorrell On Why Brands Have An Internal Battle For Ecommerce

COLOGNE — Mondelēz International has previously described it as one of the fastest-growing revenue generators for brands – so why are clients scrapping internally over the ecommerce opportunity?

In this video interview with Beet.TV, WPP CEO Sir Martin Sorrell says that ecommerce, with which brands now have the ability to sell directly to customers and not just through wholesalers, sees two factions vie for control.

“It tends to be a sales function rather than a marketing function,” he says, speaking at the DMEXCO advertising industry gathering in Germany.

“So we are seeing quite a battle, with CMOs trying to take control or exert control of the ecommerce function.

“That probably has to happen, or they have to come together in a more coherent way. We’ll see some changes in that.”

Mondelēz’s chief marketer has previously told Beet.TV “one of our fastest-growing P&Ls … will be ecommerce”, but the company needs to “build a bridge” between ecommerce and media sales.

“Welcome to the Vibrant Future,” a video series of thought leadership from DMEXCO 2017 presented by Criteo. For more videos please visit this page.


After Spain, OTT Is Key to Sky’s International Expansion Plans

COLOGNE — Over-the-top (OTT) Internet delivery looks like becoming the Trojan Horse for an expansion of Sky’s pay-TV business in what is emerging as a post-satellite future beyond its traditional UK.

This summer, Sky, the UK’s leading pay-TV company and combined telco and channel provider, announced it will launch in Spain.

But, unlike its core offering back home in the UK, Sky’s Spanish launch won’t transmits primarily over satellite. Instead, Sky is launching its own over-the-top (OTT) box to receive shows from 12 entertainment channels for €10 per month, and no ongoing contractual commitment.

If that sounds a lot like Now TV, Sky’s existing OTT off-shoot in the UK, that’s is because it is. Running on Roku-powered boxes and other digital devices, Now TV provides satellite-free access to entertainment or sports channels from Sky and others over the internet for a flexible monthly fee.

First announced in November 2012, Now TV is essentially Sky’s strategy to control the cutting of its own cord, now that the outlook for traditional pay-TV has turned down. It was available in UK 1.2 million homes, according to measurement firm BARB’s Q2 2017 data.

But, whilst Sky’s Spain launch sticks closely to the Now TV template, the company is launching it under the core “Sky” brand name – and the company’s advanced advertising director tells Beet.TV the company is not stopping with Spain.

“We announced a few weeks ago that we were about to launch our OTT service in Spain. I think we’re working on other territories as we speak,” he says in this video interview.

Sky already operates core satellite TV services in the UK, Ireland, Italy, Germany and Austria. The idea of using OTT as a beachhead to additional territories is new.

The company recently told investors it would use profits from its Sky Bet gambling service to finance a strategy to “create future value by expanding the footprint of our OTT services, leveraging the success of our existing multi-territory streaming platform and our capability in creating original content”. So where will the company go?

“It’s really dependent on the broadband penetration and the capability of the market to support OTT streaming at scale,” says West, speaking at the DMEXCO ad and media gathering in Germany where the topic of advanced TV advertising was high on the agenda.

“We’ve chosen in Spain to go with an OTT proposition because we think that is the most relevant for the Spanish market. As we review each market, that will be a decision point on whether we go with a satellite service with full infrastructure or whether we go with an OTT service. The OTT service, of course, allows us to very quickly and efficiently replicate our models in UK, Italy, or Germany into that other territory.”

Sky needs to find growth. Whilst its 2016/17 annual revenue grew 10%, it is facing a profit decline thanks partly to the growing cost of live premium sports, audiences for which are nevertheless now declining.

21st Century Fox, which owns 39% of the company, has tabled an £11.7bn acquisition of the remaining portion to wholly own Sky, an offer that has prompted some concerns over media concentration. UK government culture and media secretary Karen Bradley has thus referred the matter to the Competition & Markets Authority, due to advise Bradley within six months on whether the merger should proceed.

The next few months will see a scramble to argue the merits or otherwise of the proposal. But, meanwhile, the potential for international growth through OTT roll-out remains undimmed.

This video was produced as part of Beet.TV leadership series from DMEXCO, presented by NBCUniversal. For more videos from the series, please visit this page.

September 19 2017


NBCU’s Krishan Bhatia Discusses The Growing Linear-Digital Viewing Divide

COLOGNE – With the proliferation of video platforms and devices has come a persistent call for a common method of viewer measurement. One simple statistic shows why: NBC hit “This Is Us” is watched evenly on linear networks and digital platforms.

“What we’re seeing in terms of the impact of that on viewership is really quite stunning,” Krishan Bhatia, EVP, Business Operations & Strategy for NBCUniversal, says of the explosion of consumer choices.

“On average for our primetime shows, it’s already at 30%” Bhatia says, referring to digital viewing. “If you play that out over the next few years, you can see how dramatic the shift toward these platforms is already.”

In this interview with Beet.TV at the DMEXCO advertising and trade show, Bhatia also talks about using the flexibility of digital to “move the ball forward” on 30-second TV ads and how NBCU is in the process of broadening its automated platform reach with more demand-side platform partnerships.

Viewing trends allow for incorporating the capabilities that marketers have come to expect in the digital media world to TV content on new platforms. “We can serve ads digitally, we can do creative versioning, we can do third-party tracking,” Bhatia says.

Like many of his sell-side colleagues, Bhatia bemoans the reality that measurement lags viewing trends. He notes that such metrics as Nielsen’s C3 and C7 ratings “fall outside of that measurement approach” needed to thoroughly track cross-platform watching.

In this year’s Upfront negotiations with TV buyers, NBCU saw a 42% increase in demand for its digital video ad inventory, according to Bhatia. To him, this means that seeing “demand basically outstrip supply” creates an opportunity for content that might historically have been considered non-ad-supported, streaming video-on-demand content. One obvious benefit for marketers more digital inventory.

NBCU made lots of headlines earlier this year when it made a landmark deal with Hulu to share the rights to the digital rollout of “This Is Us,” as The Hollywood Reporter notes. Among other things, the arrangement gives advertisers access to people who had not yet been exposed to the hit show.

Bhatia sees a rising trend within audience targeting toward more automation of ad-buying transactions.

“The automation layer is what both marketers and agency partners are asking for,” he says. With all of the company’s inventory now available via three DSP’s, “you’ll see that list continue to expand significantly over the next six to 12 months.”

This video was produced as part of Beet.TV leadership series from DMEXCO, presented by NBCUniversal. For more videos from the series, please visit this page.


Sorrell Wants Less ‘Clunky’, More ‘Flexible’ From Tech’s ‘Fearsome Five’

COLOGNE — At last year’s DMEXCO, WPP Sir Martin Sorrell promised he would finally join Twitter – if CEO Jack Dorsey showed up at the next event.

Well, at this week’s 2017 occurrence of the digital ad gathering in Germany, the pair graced the stage together, and Sorrell joined the social network live in front of an audience.

But that doesn’t mean the chief of the world’s largest ad agency holding group is a total convert.

Speaking with Beet.TV in this video interview after his appearance, Sorrell had some robust views about what advertisers need from tech companies like Twitter.

“We had a very strong year with (Twitter) last year,” he said. “We went up in spending with our clients from about 240 million to 300 million. (But) I think they’ve got to be a little bit less clunky on the technology front.

“It’s true of all the big tech companies – a lot of times the clients and the agencies say, ‘Look, can’t we have this?’, to which the answer is often a ‘No’.

Twitter may need to relent. Its Q2 2017 advertising revenue fell 8% year-on-year, while daily-active-user growth declined from the previous quarter.

The network, once pitched as a “microblog” for text updates, is now pinning its ad growth on live video streaming.

But Sorrell is hoping Twitter – or perhaps Snapchat or another – can drive competition amongst a “Fearsome Five” of big tech firms and especially against the troublesome two of Facebook and Google.

“Frankly, a lot of our clients, a lot of traditional media owners, agencies, want a third force,” he tells Beet.TV. “Twitter has an opportunity, Amazon clearly has an opportunity to become that third … Oath has an opportunity, AppNexus has their opportunity, so we’ll see how it all pans out”

This video was produced as part of Beet.TV leadership series from DMEXCO, presented by NBCUniversal. For more videos from the series, please visit this page.


With A Smart Ecommerce Ecosystem, Amazon And Alibaba Don’t Always Win: Criteo’s Mollie Spilman

COLOGNE – There’s a school of thought that says most online retailers cannot compete with the likes of Amazon and Alibaba. The folks at Criteo don’t think so, which is why they have architected “a kind of alternative universe” in which ecommerce companies not only survive but thrive.

Despite “doom and gloom” sentiments about competing with online giants, “At Criteo we just don’t believe that,” says Chief Revenue Officer Mollie Spilman.

Criteo thinks there’s a “vibrant future” alongside the Amazons and Alibabas of the world, Spilman explains in this interview with Beet. TV at the 2017 DMEXCO advertising and media trade show. “And so we’re building what we hope to be the world’s highest performing and open—open being a really key term—commerce marketing ecosystem,” Spilman says.

Within such an environment, brands, publishers, retailers and other players are able to better connect with consumers by inspiring them with the most relevant offers and products.

It’s many steps beyond Criteo’s longtime core capabilities of retargeting consumers online. Criteo’s acquisition of HookLogic is a key component of the buildout.

“The scope is really expanding to not just reengage or retarget shoppers but to acquire them in the first place,” says Spilman. “To convert new shoppers into buyers” and turn one-time buyers into lifetime shoppers. “We’re trying to go up the funnel and be able to go to our clients and bring them new customers. Try to get current customers to buy more.”

Insights gleaned from machine learning technology helps Criteo understand identities not just online but offline as well.

“What’s happening right now is each e-tail or commerce company has a very siloed view of their shopper. They know what happens on their site or in their store. Sometimes they don’t always know how those two interact.”

In the same vein, the company provides intelligence on the differences between what happens on a desktop versus a tablet or a smartphone. The pooled data in its ecosystem is shared with all participants “so they have a much fuller view of the path to purchase.”

Criteo’s rise has made it a major force in the digital ad world, representing some 16,000 advertisers. “What publishers are looking for is, of course monetization of their inventory. But they just don’t want that at any cost. They want that with high quality advertising. They do want higher CPM’s.”

Criteo controls the creative assets of its advertisers “across the board,” buying billions of placements and paying very high CPM’s. Moreover, it recently launched its own header bidding product to enable even more efficient bidding on ad inventory.

“We’re actually paying publishers double-digital percentage more in terms of monetization of their inventory than we had through RTB platforms” and other programmatic channels, Spilman says.

“Welcome to the Vibrant Future,” a video series of thought leadership from DMEXCO 2017 presented by Criteo. For more videos please visit this page.

September 18 2017


Audience Buying Now ‘A Regular Part Of The Planning Process’: NBCUniversal’s Denise Colella

COLOGNE – It’s taken a few years, but NBCUniversal is seeing audience buying becoming a mainstream choice for more advertisers across product and service categories.

This comes three years after the media company began offering its Audience Targeting Platform during the Upfront negotiating period and after the second Upfront with its Audience Studio suite of data offerings.

“One of the things we found coming out of this year’s upfront is that clients are making audience buying a regular part of their planning process,” Denise Colella, SVP, Advanced Advertising & Product Strategy, NBCU says in an interview with Beet.TV at the DMEXCO advertising and trade show.

Things have gained traction on the audience-buying front after a few slow years following the Upfronts. In the early going, by the time agencies and clients ended their negotiations and then had to figure out who they wanted to target and what data to use, they just weren’t ready to make deals.

This year, NBCU’s audience-buying commitments have tripled in the third quarter because clients have their data and are ready to go.

“So the fact that they’re ready so soon after the Upfront shows us this has become mainstream and a regular part of their buying process,” Colella says.

Having decided to make all of its unsold inventory available through its data products, NBCU saw early uptake by such vertical categories as finance, insurance, automotive and travel.

“But over the past year or so, we’ve seen it expand into all verticals, everything from pharma, to CPG to studios. “At this point, I believe all verticals are looking at this as a viable and in some cases better way to buy.”

Advertisers are still mixing traditional demo buys with audience targeting. “More and more we’re seeing the audience budgets increase.”

While NBCU has been offering video-on-demand addressable ads, in the coming year it will test linear addressable with parent Comcast.

This video was produced as part of Beet.TV leadership series from DMEXCO, presented by NBCUniversal. For more videos from the series, please visit this page.


On Heels Of Spotify Deal, Skinny Bundles Will Go Multidimensional: Hulu’s Peter Naylor

COLOGNE – While the present may seem like the heyday of skinny bundles, things are just getting started. Take Hulu’s recent partnering with Spotify for college students and the pairing of Netflix and T-Mobile.

“We talk about bundling products and we talk about bundling video products together, but I think what’s interesting is the opportunity to bundle more than just video with video,” says Peter Naylor, SVP, Advertising Sales, Hulu.

“Even Amazon is bundling shipping with video. So I think bundles are going to leap beyond video and go multidimensional, multimedia,” Naylor adds in this interview with Beet.TV at the 2017 DMEXCO advertising and media trade show.

Founded in 2007 by three traditional broadcast networks, Hulu earlier this year debuted its own live package consisting of more than 50 channels. Since then it’s added The CW Network and more than 200 local TV affiliates. “Depending on where you, are you’re getting not only national feeds but local content as well. So that’s going very well,” Naylor says.

Beginning on Sept. 12, subscribers to the T-Mobile ONE plan with at least two phones on their plan were able to stream Netflix programming at no additional cost.

“While the big bundle collapses, people will reassemble their own bundles in more of an a la carte fashion. It will be interesting to see how many relationships viewers want with different services.”

Naylor says advertising on Hulu is “healthy and vital right now,” given that the majority of people who sign up opt for the ad-supported version. And while 15- and 30-second ads “are totally welcome” on the platform, he sees creative opportunity in interactive advertising.

“We partner with people like Brightline, for example, for interactive advertising. We’re doing a lot of integrations.”

Naylor cites as examples the season and series finale of The Mindy Project, in which brands like McDonald’s, Sprint and Volkswagen have show integrations. “So we have some of the best of old school TV with integrations and the best of new TV with interactive ads.”

At the 69th Emmy awards, Hulu achieved a milestone when it not only tied for most wins of the night–five, along with HBO–but its original production The Handmaid’s Tale made it the first streaming service to take home the Emmy for Outstanding Drama Series, as The Verge reports.

While many advertisers are still content to transact on age and demographics mostly with 15’s and 30’s, “I think you’re seeing a more layered and nuanced approach because data is only increasing with advanced TV capabilities.”

This is accompanied by a rise in attribution measurement. “It’s not just did my ad get served in a way that’s viewable and, frankly, non- fraudulent but did it move the needle for my business,” says Naylor.

This video was produced as part of Beet.TV leadership series from DMEXCO, presented by NBCUniversal. For more videos from the series, please visit this page.

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