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Advertising

TabMo’s drive-to-store ad campaigns ‘increase in-store traffic by 70%’

Drive-to-store advertising campaigns activated through TabMo’s cross-channel platform Hawk show a 70% average uplift of in-store traffic.

This is a key finding of the first benchmark survey to analyse the results of campaigns using TabMo’s In-Store Impact, launched earlier this year. 

The solution provides real-time data on the increase in physical store visits generated by specific advertising activity.

Other key findings of the study include:

  • 14% of the (ad) clicks recorded converted into store visits
  • An average in-store visit costs $2.62 (in terms of ad impressions)
  • The average distance driven to the store after being exposed to an ad is 9km
  • Uplift for in-store traffic was highest in Germany (127%), following by Italy (106%), Belgium (74%), the UK (68%) and France (63%).
  • The beauty industry recorded a 271% increase in in-store footfall as a result of advertising campaigns; this figure is 145% for style and 126% for home and garden.  High tech was the lowest at 13%.
  • The food and drink sector had the best visit rate per impression at 0.30% (meaning generating a store visit required an average of 333 ad impressions).

TabMo analysed the results of 240 drive-to-store advertising campaigns activated through Hawk and carried out in European markets between 21 April and 7 October 2020.

Campaigns were segmented into the 15 industry sectors defined by the IAB: beauty; style and fashion; home and garden; automotive; business; grocery stores; food and drinks, travel; alcohol; hobbies and interests; luxury; arts and entertainment; health; real estate/property; and high tech.

Renaud Biet, co-founder at TabMo, says: “Five months after launching our cross-channel drive-to-store solution, In-Store Impact, we have looked at a number of campaigns across various markets to build out solid performance benchmarks around drive-to-store advertising. In-Store Impact enables marketers to track real-time footfall uplift data tied directly to cross-channel advertising activity activated on Hawk by TabMo’s platform.”

STUDY: TV THE ‘LEAST RISKY’ MARKETING CHANNEL

Linear TV advertising and Broadcaster VOD (BVOD) are the least risky forms of advertising, delivering just 20% of variance compared with the median return.

That’s according to research from TV marketing body Thinkbox, Gain Theory, MediaCom and Wavemaker, released to support a new cross-media optimisation tool based on its findings.

The ‘Demand Generation’ study is an econometric analysis of £1.4 billion of media spend by 50 brands across 10 forms of advertising over three years. It offers wide-ranging advice to marketers on how to maximise short-term advertising return without sacrificing sustained base growth. 

The study has also isolated the principle variables that impact advertising effectiveness, and these have been used to create ‘The Demand Generator’, a new tool that enables marketers to determine the optimal advertising media mix specific to their business and its objectives.

Key findings include:-

  • The variability of returns differs significantly across different forms of advertising
  • Linear TV advertising and Broadcaster VOD (BVOD) are the least risky forms of advertising, delivering just 20% of variance compared with the median return
  • By comparison, Online display, Cinema, Social media and Print advertising all have a variability of +/- 60% compared with the median return  
  • TV generates the highest ‘multiplier effect’ across all other channels
  • TV boosts the performance of other media channels used in a campaign by up to 54% 
  • Print, for example, boosts other channels’ performance by up to 13%
  • The average ‘multiplier effect’ across all channels is around 8%
  • This is the highest of any pure ‘demand generating’ channel, the next best is Print with 10%
  • Generic search, which straddles ‘demand generation’ and ‘demand fulfilment’ and is TV’s natural partner, delivers an average of 29% of media-driven sales within 2 weeks
  • Due to the sustained effect of advertising, during the following 6-18 months, TV goes on to deliver a further 2.4 times more sales than it generated in the first 2 weeks
  • Generic search goes on to deliver 0.8 times more sales than in the first 2 weeks and Print 1.2 times more

The new tool supported by the research – www.thinkbox.tv/demandgenerator – offers practical advice on optimal media mixes based on the key variables that influence advertising effectiveness uncovered in the research. These were identified as a brand’s:-

  • Category
  • Budget
  • Brand size (annual revenue)
  • Appeal (e.g. mass market or niche)
  • % of sales that take place online 
  • Desire to minimise risk

The Demand Generator also forecasts the likely business results of following its guidance, both in terms of incremental revenue/profit per year and revenue/profit return on investment (ROI).

Matt Hill, Research and Planning Director at Thinkbox, said: “Often we do some research, release the findings and that’s that. So it’s wonderful to create something tangible and practical based on such robust insight. We hope The Demand Generator will be a helpful springboard for the many brands that don’t already do econometric analyses of their media performance. They can tailor it to their exact needs to find the best place to start from when deciding their media mix. With marketers increasingly adopting a zero-based budgeting approach, having a tool like this should provide a great evidence-based foundation on which to build their decisions.”

Jane Christian, Managing Partner, Head of Business Science, MediaCom: “Demand Generation provides the industry with the broadest view of media performance to date. It goes under the bonnet of what factors drive the optimal media plan for a brand, with The Demand Generator helping advertisers to tailor the result specifically for their brand.”

Image by Pexels from Pixabay 

UK ad spend to hit £21.8 billion in 2019, but growth slows

Advertising is on the up, with UK spend expected to increase to £21.8 billion, up from £20.5 billion in 2018.

That’s according to the latest forecasts by media investment group, GroupM, which predict 6.1 percent growth for 2019, down from 7.8 percent in 2018, with this year aided by decent underlying growth, admittedly with a slight decline.

Brexit still occupies management bandwidth, which in turn affects ad-budget setting with the potential to lead to reductions.

Digital advertising continues to grow at around 11 percent for 2019, accounting for more than 60 percent of total UK advertising, of which over half is search.

Digital media ‘pure plays’ represent the largest group of ad sellers, with Facebook and Google accounting for around three-quarters of the figure on a gross basis.

After hitting £4.5billion, television accounts for around 20 percent of media investment and remains a stable medium in terms of advertising, with spending left unchanged in 2018 over 2017, with levels set to remain for a 24 month period.

Radio also appears set to hold on to its revenue base this year, followed by closer to +2 percent growth next year, along with Out-of-Home (OOH), digital formats which are becoming increasingly important, accounting for half of spending in OOH during 2018, with further share gains still to come especially as more automation takes root, including the emergence of performance-based targeting and data-driven trading. For now, GroupM forecasts growth exceeding +3 percent in each of 2019 and 2020.

The losers in the advertising game continue to be print, with newspapers and magazines now accounting for less than 10 percent of media investment combined in 2019, down from more than 50 percent in a 15-year period.

Image by Falkenpost from Pixabay

Recession predicted for UK ad market in event of ‘no deal’ Brexit

UK ad spend will fall by nearly £1.4bn in 2019 in the event of a ‘no deal’ Brexit, according to latest predictions.

Enders Analysis says it will be the first time the country’s £23bn ad market has contracted in more than 10 years – down 3% to £22.54bn.

However, the firm also modelled a ‘deal’ scenario, in which the market would still grow in 2019 (up 2.7% to £23.9bn) but would still be down on 2018 growth (4.7%).

A no deal scenario, meanwhile, would see a stagnation in online display ad spend, which has seen robust growth over the last decade.

The last time the UK ad market contracted was in 2009, when it slumped 13% in the wake of the global financial crisis.

However, Enders has cautioned against brands rolling back ad spend too drastically:

“The advertiser response will be to become more tactical in allocating advertising spend, but evidence from the last recession suggests that ‘going dark’ with brand display spend can be a long-lasting mistake.”

Reality Clash teams with Subtv for innovative student campaign

Reality Clash, a unique Augmented Reality FPS mobile combat game from publisher Reality Gaming Group, has partnered with youth broadcasting channel Subtv to engage with students across the UK.

The latest Reality Clash trailer will be played to Subtv’s audience of 1.2M 18-24 year-olds across TV, digital and mobile platforms, encompassing a network of 80+ sites/100+ venues in universities nationwide.

The trailer will also interact with the Subtv mobile app, from where students can sign up to the Reality Clash Beta testing programme and claim £5 worth of free in-game currency to spend.

The Subtv partnership is the latest step to Reality Gaming Group’s initiative to work with universities, including Kingston and Westminster, that will see students testing the Reality Clash game ahead of its release in early-2019.

In addition to students and the general public, other participants in the Beta testing programme include Denmark-based eSports community, Sørby, which Reality Gaming Group supports.

Reality Clash is an innovative AR first person combat game for mobile devices set in an underground world of cryptocurrency and hackers. Players are able to connect to friends in real-time using geo map technology, join private teams and enter competitive tournaments.

“We’re delighted to continue building our relationships with students across the UK in partnership with Subtv,” said Reality Gaming Group Co-Founder Tony Pearce. “The Beta testing programme has already put Reality Clash in the hands of thousands of gamers, and now we’re looking forward to seeing some competitive gaming on campuses around the country.”

“Reality Clash is a great fit for Subtv. We’re looking forward to inspiring gaming fans and early adopters from across our University audience of 1.2M students to get involved,” said Subtv CEO Nick Brown.

www.realityclash.com

Social platforms and alcohol brands team up on responsible advertising

The eleven leading beer, wine, and spirits companies that form the International Alliance for Responsible Drinking (IARD) have teamed with Facebook, Snapchat, Twitter and YouTube to set advertising standards.

Signatories on the beverage side include big hitters ABInBev, Asahi, Bacardi, Beam Suntory, Brown-Forman, Carlsberg, Diageo, Heineken, Molson-Coors, Pernod Ricard and Kirin.

The partners say the agreements means they can achieve new levels of responsibility in the advertising of beer, wine and spirits across social media. This will be achieved by:

  • Ensuring the most-up-to-date safeguards are used so that marketing communications relating to beer, wine and spirits are directed to those adults who can lawfully buy these products;
  • Exploring what changes can be made to further diminish chances of those underage seeing such advertising
  • Exploring ways people can have greater control over whether they see alcohol advertising and opt out of receiving advertisements for alcohol products.

In addition, the partners have stated that they respect different cultural backgrounds and recognise that there are people who do not wish to see marketing communications from beer, wine and spirits producers on their social media.

In joint statement they said: “We believe our partnership has the potential to go beyond our individual companies and could create change across a range of platforms and advertisers, ultimately benefiting the thousands of businesses who want to advertise responsibly and the billions of people who use digital platforms every day.”

More information can be found at http://www.iard.org.

WPP quits London office, buys US design firm

Advertising giant WPP is moving out of its central London headquarters after 30 years, signalling another move away from founder and CEO Martin Sorrell, who left the company back in April.

Usually for a FTSE100 company, the current HQ is a smaller mews building in Mayfair that houses legal and finance staff. The new dig will be at the ultra modern Sea Containers development on the South Bank of the Thames, which is already home to a WPP subsidiary.

It’s thought the move will temporary while the firm searches for a larger location to house all of its UK staff under one roof.

Meanwhile, WPP’s global communications agency Burson Cohn & Wolfe has acquired Maryland-based creative agency HZ for an undisclosed sum.

HZ offers a wide range of services, which include multichannel digital design and development, mobile activation, social media, brand and identity creation, content, film and video production, search marketing, data and analytics.

BCW said that the acquisition will expand its expertise in integrated communications across all industry sectors.

IAB launches blockchain pilot programme for digital ad standards

The IAB Technology Laboratory has unveiled its Blockchain Working Group’s pilot program to demonstrate the application and value of blockchain technology for digital advertising.

The initiative will provide a real-world mechanism for testing blockchain-based products and services, with a goal of applying learnings to develop an industry whitepaper outlining best practices and ultimately to develop standards to support the application of blockchain technology.

Several members of the IAB Tech Lab’s Blockchain Working Group are actively involved in the program, including FusionSeven, Kochava Labs, Lucidity, and MetaX. Each of their pilots will also include partners from across the supply chain, including advertisers, agencies, DSPs, exchanges/SSPs, publishers, and technology vendors.

For example, one pilot utilizss Lucidity’s ‘Layer 2’ infrastructure protocol to verify impressions and provide programmatic supply chain transparency through a neutral, decentralised shared ledger—capable of processing and verifying high volumes of data from multiple parties to reach consensus on the blockchain.

Lucidity’s initial pilot will be followed by a series of pilots including fee transparency, digital publisher signature, and audience verification.

In addition, MetaX launched its adChain Registry, a blockchain-driven list of brand-safe sites determined by token holders. FusionSeven and Kochava Labs will be sharing their pilot products at a later date.

“We’re dedicated to understanding advertisers’ and publishers’ needs and exploring emerging and established technologies that can solve real problems in digital advertising – in support of a clean, scalable, and efficient ecosystem,” said Dennis Buchheim, Senior Vice President and General Manager, IAB Tech Lab. “The Blockchain Working Group, which has over 150 member companies, is at the forefront of exploring industry standards and use cases for blockchain in digital advertising, and we’re looking forward to even more forward-thinking brands and key players joining the conversation.”

“There has been a lot of hype about blockchain, but no industry-backed, practical validation of its value for digital advertising—until now,” said Sam Kim, CEO, Lucidity. “It is vital that we begin testing and utilizing blockchain technology to address major pain points in programmatic from data discrepancies to supply chain transparency. We are excited to work with the IAB Tech Lab and other members to uncover insights and learnings that can drive the entire industry forward.”

To learn more about the IAB Tech Lab Blockchain Working Group, go to www.iabtechlab.com/blockchain-working-group.

Online video viewing to exceed an hour a day this year

The average person will be spending 84 minutes a day watching videos online by 2020, according to the latest forecasts from Zenith.

In that year, China will have the keenest viewers, with the average person spending 105 minutes a day watching online video, followed by Russia (102 minutes) and the UK (101 minutes).

Zenith says this rapid rise in consumption is leading to a significant shift in the way brands plan campaigns across both television and online video.

The research covers 59 markets and encompasses all video content viewed over an internet connection, including broadcaster-owned platforms such as Hulu, ‘over-the-top’ subscription services like Netflix, video-sharing sites, e.g. YouTube, and videos viewed on social media.

Global online video consumption grew by 11 minutes a day in 2017, and we expect it to grow by an average of 9 minutes a day each year to 2020.

It accounts for almost all the growth in total internet use, and is growing faster than media consumption overall, so it is taking consumption time from traditional media.

Although some of this extra viewing is going to non-commercial platforms such as Amazon Prime and Netflix, Zenith says plenty of it is going to commercial platforms, so the supply of commercial audiences is rising rapidly.

In fact, the firm estimates that online video adspend grew 20% in 2017, to reach $27bn. Growth peaked at 36% in 2014 and has fallen steadily since then, but still remains high. It forecasts 19% growth in 2018, and an average of 17% annual growth to 2020, when online video adspend will reach $43bn.

Video’s share of online display advertising is rising steadily: it accounted for 27% of display adspend in 2017, and Zenith expects it to account for 30% in 2020.

Online video advertising is still only a fraction of the size of television advertising, but because television is stuck at 0% to 2% annual growth, this fraction is rising rapidly. The online video ad market was 10% of the size of the television ad market in 2015, and 14% in 2017. By 2020 Zenith expects online video adspend to be 23% of the size of television adspend.

“Online video is driving growth in global media consumption, as smartphones with high-speed data connections make high-quality video available to people on the move, and smart TV sets give viewers unparalleled choice in the living room,” said Jonathan Barnard, Zenith’s Head of Forecasting and Director of Global Intelligence. “The rapid rise in video viewing makes online video the world fastest-growing advertising format, creating new strategic and creative opportunities. Brands that do not currently have a strategy for online video need to think about getting one.”

TfL launches campaign to encourage gender diversity in advertising

Transport for London (TfL) is running a competition with the Mayor of London to improve gender diversity in advertising.

The Women We See: diversity in advertising competition is aimed at creative agencies and brands and the winner will see their campaign appear across the TfL network from January 2019.

TfL says it’s running the competition because, while London is one of the most diverse cities in the world, when it comes to representing that diversity the advertising industry hasn’t always got it right – namely through the kind of advertising that can be seen on trains, Tubes and buses.

Women We See is also part of the Mayor of London’s commitment to tackling gender inequality and his #BehindEveryGreatCity campaign.

TfL says it wants to see a creative concept that represents older women, BAME women, women with disabilities – be they visible or not – single parents, women from diverse socioeconomic backgrounds and women from the LGBT community. And that means challenging time-worn stereotypes.

The creative for the campaign must also respond to the key themes of the Women We See research.

Entry is open to media, advertising and creative agencies; as well as brand marketing teams, with the winning campaign receiving £500,000 of digital advertising value.

The winning entry will also be displayed across the TfL Rail and Bus Shelter networks during the first quarter of 2019.

For more info on how to enter, click here.

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