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  • “Quest for the Holy Grail” a 2013 Webby Award Official Honoree

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  • Tremor Video named an IAB Digital Video Rising Star

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  • Tremor Video Releases 2013 Video Predictions


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Mobile apps, data, privacy and other takeaways from SXSW: An interview with OMD planners and Tremor Video’s Chris Bohn

April 19, 2013

The future of mobile advertising… consumer data… privacy…

These are issue that many marketers confront daily, and some go to conferences to learn even more so they can share best practices with their colleagues.

Such is the case with SXSW attendees Chris Bohn, one of our regional sales managers in Chicago, and two of his clients, Allison Povse and Connor McCarthy, both digital media planning supervisors at integrated communications agency OMD, named the world’s most creative agency in 2012 by the Gunn Report for Media.

We sat down to discuss what they took away from the ever-growing and influential Austin festival, and how they plan to apply these lessons to their work moving forward.

What was your biggest takeaway?

Connor: Mobile was huge. In some respects, mobile phones know us better than we know ourselves. They track and store our behavior, our searches, our interactions, our shopping and our friends. That’s why there was so much discussion about location-based apps and the notion that many consumers are no longer afraid to share personal information, even financial data, and where they are at any given moment. For many consumers, that stigma seems to have gone away.

Allison: And given that mobile phones are so personal to each of us, we talked about the industry’s need to make media more personalized but at scale. Currently it is easier to personalize ads on mobile devices for the reasons that Connor described than it is on computers.

Connor: That’s right. I am based in Chicago but my IP address is in New York, so marketers sending me advertisements via my PC often get my location wrong—that doesn’t happen any more with mobile devices.

Chris, I hear you downloaded some pretty personalized mobile apps while in Austin.

Chris: Yes, and they have made me a bit reflective as both a consumer and a marketer. I downloaded Glympse, which lets you share, with an individual or a group of people, not only your location but also the path you are following and the places you are visiting over a specific period of time. If advertisers could target me on this app, I would not use it. It would be too invasive. So, as a marketer, I was reminded that people don’t want to feel like marketers are watching them and knowing their every move.  This is why the privacy discussions were so prominent over the course of the festival.

Continuing with what Allison said about personalized advertising and media consumption… how does interactive video advertising fit in here?

Chris: Interactive video ads, even on mobile devices, are highly relevant to the discussion of personalization. If you run a standard pre-roll on a computer or a mobile device, then it’s for the masses. But if you accompany that pre-roll ad with extra content, say a few sequels to the initial ad that you believe a certain group of people will like, then you are talking personalization. And you’re talking brand engagement because you are giving the people the chance to touch the screen and participate in the storytelling.

Changing course a little bit… As we sat down for this interview, you said data and privacy were hot topics. What did you think?

Allison: I was really impressed with the number of viewpoints expressed at the festival, and I’ve come home better informed on the issues. In her SXSW blog post, Forrester analyst Fatemeh Khatibloo counted more than a dozen sessions about privacy, including her own talk on personal identity management. She has said that the industry and consumer groups should create a consumer bill of rights around privacy and has said that marketers need guidelines and best practices for privacy policies, governance and consumer data usage. She also noted that people at SXSW were talking about “Privacy by Design,” a concept where privacy and security are both taken into account.  As marketers, it’s important to keep a pulse on privacy—one to be better informed and two to ensure we are following guidelines.

Connor:  As I was saying before, consumers are sharing so much information these days… as marketers, we need to toe the line. We want to reach people in a meaningful way, which often requires knowledge about them, but also in a  trustworthy way. We need to respect their personal boundaries.

Sorry for the shameless plug here…Connor, you’re using campaign data from VideoHub are you not?

Connor: Indeed, and at OMD, we strive to focus on what matters to the brand. What metrics ladder up to those marketing and corporate objectives? It’s imperative to answer the question because many pieces of data are peripheral and not worthy of our focus. We have used data from VideoHub for this purpose—we want to remain focused on how people are engaging with digital video advertising but only in the context of brand health.

Chris, building on Connor here… you’re able to access our VideoHub technology for insight into Tremor Video campaigns. How do you approach the data issue?

Chris: One thing I make sure to do when talking to clients is explain that we gather data for their respective campaigns responsibly. We look at data and trends across their campaign(s)—never at an individual level. For instance, we know that people responding to CPG ads watch a range of video content—from celebrity news to business—when engaging with a video ad. And people who engage with auto ads are not necessarily on a car site—they can be reading about politics and style and fashion just as easily. But here again, we’re talking trends over a range of Tremor Video campaigns.

Secondly, while people talk about “all powerful” data, it does have its limits. Marketing is a mix of science and art. Just because a type of viewer or type of variable did not respond well in one campaign does not mean that viewer profile will perform poorly in the next campaign. And that’s because every campaign is different—each campaign has its own messaging, its own goals, its own slot on the calendar. So many conditions are at play.

Net net, while we use data to understand and optimize campaign performance in real time, we still need to use our intuition, even art, for the next campaign.

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“The Quest for the Holy Grail” a 2013 Webby Award Official Honoree

 

 

 

April 9, 2013

Tremor Video’s The Quest for the Holy Grail has been selected as an Official Honoree in The 17th Annual Webby Awards in the Best Copywriting category.

In recognition of the exceptional quality of submissions received this year, the The International Academy of Digital Arts & Sciences acknowledged outstanding entries as Official Honorees, alongside their Nominees. With 11,000 entries received from all 50 US states and over 60 countries, the Official Honoree distinction is awarded to the top 15% of all work entered that exhibits remarkable achievement.

 

 

 

 

 

See our entry here.

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IAB Rising Stars: What It Means for Brands and Their Agency Partners

March 20, 2013

The IAB recently announced its Digital Video Rising Stars ad units as part of its larger Rising Stars initiative, which seeks to create new canvasses for brand advertising on digital platforms.  Once a Rising Stars unit has been selected, it will go through a testing process and, with success, be inducted into the IAB Standard Advertising Unit Portfolio, the definitive standard for the digital advertising industry.

Sally O’Dowd, Tremor Video’s blog editor, sat down with David Sanderson, director of creative strategy, and Erin Ozmat, product manager at analytics division VideoHub, to get their take on what it all means. Here’s what they had to say:

1. Tremor Video was a winner in the Rising Stars competition. Can you tell us more about that?

DS:  As people can see in our Ad Lab, we have been building all of the video ad units that the IAB designated as Rising Stars. Our ad units simply go by different names:

 

Super Pre-Roll has an interactive slate that “fills the player with a full canvas of interaction possibilities” like the IAB Full Screen format and has the “scrollable, multipanel, horizontal” features like the Filmstrip format.

Pre-Roll Plus has “rich ad content overlaid on video, changing in sync with video ad content” like the TimeSync format and is  ”an elegant interface allowing viewers to engage in multiple ways, if they so choose” like the Ad Control Bar format.

Pre-Roll Extended Play (PXP) “allows viewer to choose to continue viewing the ad content” just like the Extender format and provides long-form content, such as with movie trailer advertising.

Broadly speaking, we are thrilled that such units are becoming standardized. Knowing exactly what different ad units do makes it easier to conceptualize, plan and create video advertising. For our part, we use these ad units so that we can couple creative assets with interactivity, which in turn helps us to reach media objectives.

EO: Tremor Video’s winning ad formats and the IAB’s Rising Stars units have another important quality in common - they provide viewers the opportunity to actively participate with the ad.

And this benefits brands tremendously – we’ve seen the metrics. We know that purchase intent increases when consumers have the chance to view and engage with branded content in addition to standard pre-roll.  It’s why we have made interactivity so fundamental to all we do.

2. What does the development of the Digital Video Rising Stars ad units mean for brands?

EO: Currently there are many different types of interactive ad formats being built and sold, all with varying claims about marketing success. By standardizing interactive ad format functionality through the Rising Stars initiative, with input from Tremor Video and other winners, the IAB frees up brand marketers to think about the bigger issues: relationships with consumers, and the quality and relevance of their message. Standardized ad units also help brand marketers to measure and compare performance across campaigns and media buys.

3. Our Ritz client has used the Super Pre-Roll unit and participated in the IAB Rising Stars announcement. Why do you think the ad unit is particularly effective?

DS: The unit is great because it builds on and complements the other aspects of the Ritz “Kick Up the Kickoff” multimedia ad campaign, which features Chef Emeril Lagasse. The digital video ad invites the viewer to spend time with new Ritz recipes. It’s a great secondary conversation with the Ritz audience. If someone clicks on “Rollover for Kickin Gameday Recipes,” the pre-roll pauses and up pops the engagement slate featuring six different recipes.

EO: I also like this unit because it gives viewers multiple opportunities to engage with the ad. The trigger to engage is on target with the brand message and gives the viewer the opportunity to opt-in for more…or not. If viewers do decide to engage, they are given interactive recipes to pick from, as well as a chance to win the Ritz recipe contest. There is also a clear “close” button to leave the ad. It’s all about choices, and analyzing what choices people make can tell us a lot about them and what draws them to the brand.

4. What are the next steps in terms of the IAB working groups?

EO: David and I have been invited to participate in the IAB Full Screen and Ad Control Bar working groups. Our job is to define, build, and implement standards for these two types of Rising Stars. We will also be putting the Rising Stars ad formats through a testing process, to ensure that they not only look and work great, but also deliver on performance. The process should be completed in a few months.

5. What else do you want ad industry to know about the Rising Stars ad units, and our involvement?

EO: Leaders from top ad agencies served on the panel of judges that selected the winning 12 companies and five Rising Stars ad formats. The panel’s choices tell us about the growing importance of online video advertising to brands, and what units tend to work best. It is an incredible opportunity to work with these leaders and our peers to help the entire industry better leverage interactive video ad experiences. We’re really looking forward to it!

 

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Tremor Video interviews Creativity Editor and executives from Team Detroit and Telemetry

February 1, 2013

As we posted in December, Tremor Video and Ad Age/Creativity hosted a holiday party to celebrate the winners of our Super Creative Video Ad Challenge.  Check out that post for a video featuring David Sanderson, senior director of creative strategy. He shares his creative philosophy and salutes the winners of the contest: Ford Mustang/Team Detroit, Miller Lite/Olson and Air Wick/Telemetry/Havas.

We had the chance to talk to a few friends during the party, and the following video highlights what they had to say. Check it out to get to know Ann-Christine Diaz, editor of Creativity; Chris Walton, VP and associate creative director of Team Detroit; and Andy Sarfas, director of  Telemetry in London. From the Super Bowl and iconic brands to getting experimental in the UK, they share thoughts on how digital video is hitting the big time.

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Tremor Video at CES 2013: The Video Revolution

January 14, 2013

“It’s all about mobile.”

“TV’s still have room to grow.”

“The advertising industry will be screen agnostic.”

These are just a few of the reactions from Tremor Video executives after touring the exhibits at last week’s International Consumer Electronics Show.  Here’s our take on what we saw in relation to video advertising and content:

 1. Transmedia storytelling 

The myriad devices we saw on the tour reinforced our belief in the growing power of transmedia, or cross-platform storytelling, which we discussed in our Video Predictions 2013 report.

We are in a post-mobile world, with people using smart phones as their “personal control centers,” said industry analyst and two-time Emmy Award winner Seth Shapiro, who curated and guided our tour as part of the MediaLink/Shelly Palmer CES partnership. Yet, in an ironic twist, fixed screens are simultaneously getting bigger and bigger, seemingly destined to play an even more important role at  home. Sony’s 84-inch 4K Ultra HD TV is just one of many examples from the show. With all this “screen ubiquity and diversity,” we believe that brands have an incredible opportunity to tell stories across multiple screens.

Moreover, products such as Samsung’s AllShare enable people to search for and play video, photo, and music files across many devices, while Dish and Slingbox let people watch their content from anywhere in the world. The result is a screen mash-up, meaning content across devices, and continents, will start to blend. Here again, transmedia storytellers have an increasing number of ways to reach people by slicing and dicing their content across platforms.

Tremor Video executives said these and other innovations showcased at CES 2013 will have a big impact on content and how advertising is conceptualized and produced.

Said Kelly Hollis Brown, national sales director, automotive: “The proliferation of devices/screens and technology is greater than ever before. Brands need to consider the right message  — what it will consist of and look like — based on the device. Then, they need to make sure that all messages ladder up to tell one cohesive story with an interactive experience.”

Paul Sluberski, vice president of sales, consumer packaged goods, at Tremor Video, said that the growing size of TV screens, and the move to a 4K ultra high-definition standard, will mean that brands and agencies will have to look at their advertising in a whole new way. The 4K technology means viewers could literally see every hair on the back of their favorite TV character or every product detail in a commercial. As more people buy these sets — at $25,000, they are an early-adopter luxury for now — “brands and agencies will need to produce their ads, and test them, to make sure they’re compatible with the living room experience.”

2. Big Sister 

In Video Lives – Tremor Video’s 2012 global ethnographic study launched in partnership with L’Oreal at IAB MIXX 2012 – people around the world told us that they use technology to improve their lives. Teenagers and adults alike told us that they welcome advertising and branded content as long as the messages are relevant to them and as long as they can engage with the content on their terms.

Likewise, at CES, we saw the growing importance of benevolent technology that helps, guides, and counsels, just like a big sister. Take HealthSpot, whose private, walk-in kiosks in pharmacies and stores give acute-care patients live access to board-certified doctors via high-definition videoconferencing and interactive digital medical devices. The remote doctors can even prescribe medications. The kiosks are in trial now.

Also at CES, body-monitoring company BodyMedia announced the BodyMedia CORE 2, the next generation of the activity/health tracker armband used on The Biggest Loser®. BodyMedia’s monitors provide accurate measurements of calorie burn, exercise intensity, and sleep patterns that affect weight as well as health.

At the Verizon booth, we learned about Golden-i, a wearable computer headset developed by Kopin. Health workers can use Golden-i to see patient records on a virtual 15-inch screen, talk to remote colleagues, and use GPS and maps to track their location. Infrared, heat-sensing technology helps firefighters find people in need of rescue.

“These innovations provide important lessons to marketers of all kinds of products, not just those that are related to health and safety,” said Tremor Video President Lauren Wiener. “People are getting used to technology that serves up meaningful and helpful content — information that makes their lives better.  The more people interact with brands for this purpose, the more they will expect all products and services to behave in this manner.”

3. Modern Family, Modern Home

From devices that track a potential burgler or command a robot to vacuum, innovations at CES 2013 reflected the modern family: tech-savvy and multitasking. The exhibits we saw also reminded us of our Video Lives and Video Predictions projects, for both reports indicate that everyone in the family does pretty much everything now and that gender stereotyping is on its way out.

Indeed, at CES, products are increasingly gender-neutral, for everyone wants to be connected for one reason or another.

Take Iris Care, demonstrated by Lowe’s and Verizon, which lets homeowners monitor a person’s activities and routines remotely.

As the Los Angeles Times reported, “Lowe’s tapped into the fears of children living apart from their aging kin with its CES display of its new Iris Care system, which among other tasks can send an email to family members when an older relative doesn’t get out of bed at the normal time.”

At the booth hosting the Samsung Home Energy Management System, we had the chance to envision how all devices can talk to each other. You turn off the movie, the lights come back on. You’re not home and need the carpet vacuumed?  Alert your robot and it will do it for you. Samsung’s representative said it’s all designed “to give you a more exciting and fulfilling life.”

Said Tremor Video’s Sluberski: “Verizon, Samsung, Comcast, and others are gaining access to our entire home through connected devices. Things like home security, remote appliance control and other services may finally become a reality of sorts.”

Marketers No Longer Ignoring the Shift

As CES draws to a close, thousands of media and advertising executives are returning to their offices. We’re all eager to figure out how best to engage with the connected consumer of today and tomorrow. Here at Tremor Video, we’re placing a big bet on the power of interactive video advertising to inform, educate, and entertain.

One article, in particular, has made the connection between CES and our line of work. “Digital video is the key driver in CES’ importance, largely because the show focuses so much on the delivery mechanisms for watching video,” wrote MediaPost’s Rich Routman. “Aside from new innovations like Organic LED, the major focus for TV manufacturers right now is developing smart TVs with internet connectivity.”

Indeed, Routman linked to a Tremor Video study on connected TV to argue that “lines between digital video platforms and TV programming are blurring, as far as consumers are concerned, and marketers can no longer ignore this shift.”

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Video Predictions 2013

January 2, 2013

From engineers in Singapore to sales directors in London to numerous department heads and executive team members in the U.S., we combed far and wide to arrive at video predictions for 2013.  What started as a baker’s dozen has been boiled down to three major trends wrapped around the concepts of touch, transmedia and truth.

ClickZ and beet.tv have picked up our predictions here and here.  Our video and accompanying narrative follow.

2013 Video Predictions by Tremor Video from Tremor Video on Vimeo.

1. 2013: A touchy subject.

Advertisers will add a fourth dimension—touch—to sight, sound and motion on a major scale. We base this prediction on the growing demand among our own clients for interactive video advertising.[1]

Given this upward trend, we believe marketers across the board will finally realize that they are missing a big opportunity when they repurpose a TV spot for the web and call it a day. As such, marketers and their agencies will conceptualize and create complementary interactive video content when brainstorming their brand’s big (TV) idea. They will start to shoot extras, outtakes, content for the “making of” video and other editorial content that will serve as interactive invitations to engage with the brand on all screens.[2]

Think interviews with the actors in the commercial, or the director; plus games, coupons, look books. At the same time, online video will become more custom. Precise targeting will mean different video footage for each audience, including unique takes on messaging, editing, and product demos. To get there, marketers will borrow from print budgets, not TV. Marketers and consumers will continue to love the biggest screen in the house, and TV and digital video will live happily—and effectively—ever after.

Super Bowl

Speaking of having a blast with content creation, we believe at least one major brand will take this idea even further for the Super Bowl. This brand  at the end of 2013 will digitally test creative ahead of the 2014 game, effectively using online video as the world’s largest and almost instantaneous focus group. This brand will run various interactive video ad units to see which garner the most engagement and buzz in the weeks leading up to the game. Based on metrics, the brand will run with the clear winner at half-time, thereby removing some of the “high” from the high-stakes bet.

 2. The Golden Age of Video: Transmedia Rises as Goddess.

From Walking Dead e-cards—which are either frightening or oddly funny depending on your perspective—to a Spartacus game where the show’s fans fight for the favor of Rome, transmedia is helping TV shows gain and attract new audiences through cross-platform and participatory storytelling.  What’s more, the 2013 edition of the Tribeca Film Festival will accept transmedia entries for the first time while Disney’s 2012-2013 Living Worlds program has been pushing the limits of immersive storytelling.

In 2013, we believe advertisers outside the entertainment category will jump on the transmedia bandwagon in a big way by borrowing from studio playbooks. Media planners as a result will embrace agnostic planning across all the screens available to them. TV and video will rule branding to the detriment of print, outdoor, radio and online display advertising.

We dare marketers to go big with original web content plus games, Facebook and Twitter feeds for characters, chances for fans to create the back story or suggest future story lines. Digital video will be at the center, delighting viewers who increasingly think, “Isn’t all content digital now anyway?” And marketers will be delighted with measurable ROI.

3. Truth in Advertising with Effective Rating Points.

For 60 years, the GRP has been the holy grail. But in 2013, marketers will feel extra lucky, as more light bulbs go off about ERPs: effective rating points. Okay, we get it, there is more work to be done as an industry to arrive at a common measurement standard but effectiveness will be at the core and should be.

Such standards will break the myth that audience-targeting is the alpha and the omega. It doesn’t always work—factors such as publisher, type of editorial content and day-part can have a much bigger impact on engagement than being a woman 18-34. We all know that men watch ads for laundry detergent sometimes, and buy it, and women definitely watch ads for men’s deodorant, and buy it. (We’ve seen the quant and heard the qual.)[3]

And don’t take this the wrong way but sometimes your creative just isn’t right for your target audience, or maybe your target audience isn’t who you think it is. As such, gender-stereotyping will become 2013’s big no-no if you’re after a competitive advantage.

Continuing the Conversation

Time will tell if we are right or wrong. We plan to track progress on these and related issues throughout the year via blog posts and other updates.  So check back with us—let’s continue the conversation about the rapidly evolving world of digital video.

 


[1] Our revenue from interactive formats nearly doubled from Q1 to Q4.

[2] This prediction is grounded in an upward 2012 trend here at Tremor Video:  In Q4, 55% of our mobile revenue came from interactive ad units, up from 12% in Q1. More than 1.21 billion smartphones will be bought worldwide next year (Gartner), further driving brands’ desire to engage these tech-savvy consumers with engaging video.

[3] Using VideoHub, Tremor Video’s operations and analytics platform, we have uncovered instances where ad campaigns targeted at one gender have actually resonated better with the other. During our Video Lives ethnographic study, we interviewed 35 families around the world and in each case fathers said they bought household goods for the family unit—an indication that targeting only women for such products is an antiquated idea.

 

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