The first IAB Matrix (Belgium): Digital = 35% of the investments intention July-Dec 2014

IAB Belgium has conducted this survey, called “IAB Matrix”, on the perception and use of digital advertising channels by advertisers and agencies in Belgium.

The goal of this study is to provide advertisers and all stakeholders a reliable indicator of the performance of different digital advertising channels in the Belgian market. An indicator that doesn’t yet exist for the Belgian market.

Check out hereunder the infographic with the main insights.

IAB Matrix Infographic - copie
Do you want more information about this study?


How Reckitt Benckiser Became ‘Digital at Heart’ | CMO Strategy – Advertising Age

How Reckitt Benckiser Became ‘Digital at Heart’ | CMO Strategy – Advertising Age.


This report explores the thinking behind the ways marketers and their creative agencies engage with consumers through building communities.

Learn more 

Getting brand marketers to buy into digital and social media wasn’t always easy at Reckitt Benckiser, acknowledges Laurent Faracci, general manager-North American marketing. But the demonstrable return-on-investment — critical for a company he describes as “cost obsessed” — is now strong enough to easily get their attention and dollars. And it’s transforming the marketing operation well beyond the media mix.

Laurent Faracci
Laurent Faracci

What Mr. Faracci describes as the movement to become “digital at heart” is affecting everything from the U.K.-based company’s agency relationships to how it recruits marketers and works with retailers.
It played a pivotal role in RB’s decision earlier this year to partially unwind its years-long consolidation of creative assignments with Havas in a global review that moved five brands, including Air Wick and Clearasil, to Droga5; Finish to Wieden & Kennedy; and Mucinex and Delsym (previously handled in-house) to McCann.

“We realized that what made a good decision maybe 10 years ago to go with one agency and consolidate every brand around the world into a single network, that was pretty much TV-led thinking, where every asset is very important and costly,” Mr. Faracci said.

Not that every ad isn’t still important, but growing reliance on digital ads requires more content, much faster. “We wanted to bring more diversity and creativity,” he said. “We went to the market and explained that and saw what we believed were the best agencies creatively.”

Havas, he said, remains “a great partner for us,” one that “retains at this stage 85% of the business globally.”

Data driven
The agency move was a surprise given it paired a notoriously tough-minded client with new shops known for unconventional work. As Mr. Faracci puts it: “We are very data- driven. We are less soft and emotional than some of our competitors. We are much more about the business, being entrepreneurial, the data and getting it right, not necessarily getting it fancy or fashionable.”

That said, he believes the new agency partnerships are off to a good start. “People are excited on both sides, and the work we’ve seen is great,” he said. “It’s a journey. We want to be a better client as well.”

The data-driven part, however, won’t be going away. Mr. Faracci sees that focus driving ever more spending to digital, where the company’s marketing-mix analytics show it getting better returns.
While RB is doing more programmatic buying, the focus is on finding what creative and media placements drive behavior change, he said, rather than simply driving down CPMs.

Facebook deal
Sometimes the goal with digital is simply to improve reach, as with a Lysol campaign. TV could only hit 48% of RB’s target affordably, but adding Facebook allowed the brand to reach 65% of the target.
“Now that [social and digital] is becoming a mass medium, there will be inflation,” Mr. Faracci said, noting that many social and digital companies are now public, meaning their financial performance is under greater scrutiny. “But I think they’re producing results more organically than through price increases.”

RB has placed its biggest digital bet with Facebook in an extensive partnership launched more than two years ago in the U.S. That pact recently grew into a nine-figure, multi-year global deal.

“We bet on them because of mobile,” Mr. Faracci said. “And it turned out to be a winning bet. We make very few bets, but we go fairly hard with them when we do it.”

The relationship with Facebook extends beyond the usual in media partnerships to include joint recruiting trips to schools such as New York University. “We explain what a great leaning-forward client can do in the context of a digital economy,” Mr. Faracci said. “It shows us very differently than the CPG stereotype of doing TV and display.”

Internally, he said, “Nobody today contests the value of Facebook,” thanks to the ROI demonstrated by prior programs. “Nobody questions today in the organization the value of online video. Suddenly, you don’t have to fight internally,” he said.

Mr. Faracci terms it the “virtuous circle” of investing in digital, getting better impact and ROI, which in turn generates bigger budgets for more spending. Unlike some packaged-goods players such as Procter & Gamble and L’Oréal, RB has no interest in dropping the savings to the bottom line, he said.

But while digital may help marketing, consumer spending on technology may be slowing the CPG business this year, along with reductions in food stamps and the harsh winter, Mr. Faracci said.

“I believe the weight of technology and technology spending on real middle America is increasing,” he said. “That takes a toll on net-available income as salaries stay where they are.”

“La télé ? Un iPad géant où Netflix, beIN Sports et Canal+ se battent pour votre temps” – Le Point

Source: AFP

“La télé ? Un iPad géant où Netflix, beIN Sports et Canal+ se battent pour votre temps” – Le Point.

Le patron et fondateur de Netflix, qui lance sa plateforme de vidéos illimitées en France ce lundi, raconte la télévision de demain. Interview.

“Imaginez la télévision comme un iPad géant où les applications Netflix, beIN Sports et Canal+ se battent pour votre temps”, raconte le patron et fondateur de l’américain Netflix Reed Hastingsqui lance sa plateforme de vidéos illimitées lundi en France, avant cinq autres pays européens cette semaine.

Quel est votre objectif sur le marché français ? Ne risque-t-il pas d’y avoir une déception pour ceux qui s’attendent à trouver sur Netflix des films récents ?

Reed Hastings : Sur le long terme, dans cinq à dix ans, nous visons un tiers des foyers français abonnés à Netflix, comme c’est le cas aux États-Unis. Mais à court terme, durant la première année, la réputation sera notre priorité. Arriverons-nous à avoir une bonne réputation auprès des utilisateurs français grâce au service que nous offrons ? Le travail sur la plateforme, la qualité et la définition, la sélection, la facilité d’utilisation… La clé d’un succès sur le long terme, c’est la première année. Sans se focaliser sur le nombre d’abonnés, mais sur leur satisfaction. Sur Netflix, nous proposons des nouvelles séries originales et en provenance du monde entier, mais, en France, nous sommes tenus par la chronologie des médias (qui empêche les services de vidéo à la demande par abonnement, comme Netflix, de diffuser des films sortis au cinéma il y a moins de 36 mois, NDLR) qui nous empêche d’avoir des films récents. Il n’y a rien que nous puissions y faire. Les gens veulent avoir accès à tout, mais chaque pays a ses propres lois. En Belgique, en Allemagne ou aux Pays-Bas, nous pouvons diffuser des films récents. Je ne pense pas que nous aurons un jour un impact sur la chronologie des médias, seuls les consommateurs français pourront un jour en avoir un. Le danger, c’est que, sans cette évolution, le piratage va continuer de croître. Au Canada, depuis notre arrivée, nous avons observé une baisse du piratage, comme sur BitTorrent, qui est passé de 30 % à 10 % du trafic sur Internet. Le piratage est notre plus grand concurrent.

Après cette étape d’expansion européenne, quels sont les plans pour Netflix ? Pour maintenir vos prix bas, ne devez-vous pas accroître en permanence le nombre de vos utilisateurs ?

Cette semaine, nous allons lancer Netflix en Allemagne, en Belgique, en Suisse, en Autriche et au Luxembourg. L’année prochaine, nous allons probablement continuer à nous étendre en Europe. Nous allons aussi commencer à regarder le marché asiatique. Nous voulons que Netflix soit disponible pour tout un chacun, partout dans le monde. Quand nous produisons une série comme Marseille (la série française attendue pour 2015, NDLR) ou Orange Is the New Black, ça devient accessible à tout le monde au même moment. Il n’y a pas de chronologie des médias ou de fenêtre diffusion avec nos propres séries. C’est vrai qu’avec nos prix bas nous devons continuer de nous développer. C’est pourquoi nous nous concentrons là-dessus. Et avec nos prix bas et le mois d’essai gratuit, tout le monde peut nous rejoindre facilement.

Quelle est votre vision de la télévision du futur ? Les cinémas existeront-ils encore dans 20 ans ?

Oui. Je pense que les cinémas sont comme les restaurants : un endroit où aller pour s’amuser. Vous pouvez toujours cuisiner à la maison, mais vous aimez sortir aussi ! Aller dans un cinéma est une vraie expérience, c’est un endroit fabuleux pour se détendre, tout comme les restaurants. À la maison, imaginez la télévision comme un iPad géant où les applications Netflix, beIN Sports et Canal+ se battent pour votre temps, innovent et sont régulièrement mises à jour, comme les applications sur votre téléphone. Téléphones, tablettes et télévisions : trois écrans, mais avec un seul usage et des applications.


Storytelling: Le Times et le Sunday Times se racontent à travers une web-série: Unquiet Films Series (Grey London) – Newspaper Works: the real lives, real struggles, real bravery behind the newspaper stories that change the course of history

Le Times et le Sunday Times se racontent à travers une web-série imaginée par Grey London. L’objectif de cette série documentaire appelée The Unquiet Film Series est de dresser le portrait et les convictions des journalistes des titres.

L’agence Grey a ainsi collaboré avec les éditeurs à la création de ces web-doc qui retracent l’histoire du Times et du Sunday Times de l’intérieur. Ainsi sept films dont “power of words”, “question everything”, “photojournalism” & “Times New Roman” ont été dévoilés depuis juin dernier sur la plateforme Au total ce sont 9 films qui seront dévoilés. Les protagonistes qui sont des auteurs et journalistes des films parlent de leur rapport aux mots (Power of words). Le film “Times New Roman” montre l’influence du titre, créateur de la célèbre police. Enfin le quatrième film parle, lui, de photo journalisme évoquant la force visuelle, le regard de la rédaction sur le monde, piochant ainsi dans les archives des moments historiques des titres. (source:,storytelling-pour-times-sunday-times,36,22594.html)

From The Times: 

Newspapers are all about stories – but sometimes the best stories are the ones we don’t tell.

Let’s not forget that news is often something that someone, somewhere, doesn’t want you to know. The real-life tales of how world-changing exclusives – whether from foreign reporters under fire, or determined hacks banging against stone-walling bureaucracy – are brought out into the open can be just as extraordinary as the articles that end up in the newspaper. Sometimes the story behind our amazing photo-journalism, campaign to change the law on adoption, to make cities safe for cycling, to reveal the corruption at the heart of FIFA, or the lies of a champion like Lance Armstrong are as exciting as a thriller, as tense as an episode of House of Cards.

We decided it was time to showcase just what the best journalists do… the real lives, real struggles, real bravery behind the newspaper stories that change the course of history. It’s all very well to boast that The Times and the Sunday Times strive to speak truth to power, without fear or favour and to report the truth, whatever the cost. But too often exactly what that takes – the death threats to reporters, the legal battles, the toughness and integrity it takes to get the article on the page – gets lost in the telling.

So here, in a series of extraordinary and independently made short films are some of the amazing, true-life stories behind the stories – we hope you find them as moving and inspiring as we do.


Paying for Digital Content Still Not the Norm in the UK – eMarketer

Paying for Digital Content Still Not the Norm in the UK – eMarketer.

There is no such thing as a free lunch, as the saying goes. However, as consumers have been moving their content consumption habits from the physical to the digital realm, that’s exactly what they’ve come to expect.

Expectation, it seems, is also being put into practice, with much larger numbers of UK internet users accessing free content or services than are opting for paid-for content. According to April 2014 research by Ipsos MORI, commissioned by Samsung, significantly greater numbers of UK internet users had accessed various categories of content for free than had paid for the privilege. For example, only 9% said they had paid for streamed TV, movie or video content; the proportion who had streamed this type of content for free was considerably higher, at 28%.

Even where there was greatest parity—14% said they’d paid for downloaded music content, vs. 18% who said they’d done this for free—this was in an area where a free streaming model is becoming increasingly common.

Of course, given the option of paying for something or getting it for free, who wouldn’t opt for the latter? But a free lunch is very rarely that, and this is true of digital content, too. While UK consumers aren’t particularly keen to pay for content with hard cash, they are prepared to pay with their attention, taking an “ad hit” in order to get their content for free. Given the numbers from Ipsos MORI, it appears that this method of “payment” is the most desirable. However, there are some factors that may sway consumers to pay with old-fashioned currency.

In the mobile app sphere, ad avoidance is something that some consumers take into account when opting to pay for apps, but it’s a far less important consideration than the quality of the content. November 2013 data from PricewaterhouseCoopers found that 40% of mobile phone users in the UK were willing to pay for mobile apps in order to have no ads. However, a far greater proportion—72%—were most willing to pay for what they deemed “valuable content.”

This is something that extends to other content categories, too. In TV and video, consumers are most likely to pay for streaming subscriptions, say, if there is quality content to be had on that platform that can’t be accessed anywhere else—accessing movie back catalogs, for example. The recent FIFA World Cup provided another example of consumers’ willingness to pay for content deemed exclusive or valuable, with 80% of UK smartphone users saying they were willing to pay for World Cup video content, according to research conducted by On Device Research for the Interactive Advertising Bureau. Build the content and maybe, just maybe, they’ll come.

- See more at:

Most Consumers Don’t Tote Wearables to the Gym—Yet – eMarketer

Most Consumers Don’t Tote Wearables to the Gym—Yet – eMarketer.

Wearables are a hot topic at the moment. There’s been talk recently about the future of notifications on such devices, fashion brands such as Tory Burch and Diane von Furstenberg (DVF) have partnered with tech companies to make wearables more stylish, and GE is testing Google Glass to see how the technology could help boost efficiency in its car factories. In April 2014, International Data Corporation predicted that wearable device shipments worldwide would rise more than 488.9% between 2014 and 2018, from 19.0 million to 111.9 million.


Consumers have reported using mobile health and fitness apps to get in shape, and many industry sources believe that wearables are next. March 2014 polling by Makovsky Health and Kelton Research found high interest in wearable health and fitness devices: 81% of US internet users said they would use one. Tracking fitness was the top reason, cited by 48%. Keeping up with personal health issues landed in second place, while tracking diet and nutrition ranked third.

However, wearable health and fitness devices have a long way to go before they’re standard gym gear. In a June 2014 Opera Mediaworks study, just 2.5% of US smartphone users said they used wearable fitness and activity trackers while exercising. However, usage was relatively low for all devices except smartphones (57.7% of respondents). While the future may be bright for wearables, do-all smartphones are still No. 1 when exercisers need to pump it up.

- See more at:

Majority Of Digital Media Consumption Now Takes Place In Mobile Apps | TechCrunch

U.S. users are now spending the majority of their time consuming digital media within mobile applications, according to a new study released by comScore this morning. That means mobile apps, including the number 1 most popular app Facebook, eat up more of our time than desktop usage or mobile web surfing, accounting for 52% of the time spent using digital media. Combined with mobile web, mobile usage as a whole accounts for 60% of time spent, while desktop-based digital media consumption makes up the remaining 40%.

Apps today are driving the majority of media consumption activity, the report claims, now accounting for 7 our of every 8 minutes of media consumption on mobile devices. On smartphones, app activity is even higher, at 88% usage versus 82% on tablets.

App Users

The report also details several interesting figures related to how U.S. app users are interacting with these mobile applications, noting that over one-third today download at least one application per month. The average smartphone user downloads 3 apps per month.

However, something which may not have been well understood before is that much of that download activity is concentrated within a small segment of the smartphone population: the top 7% of smartphone owners accounting for nearly half of all the download activity in a given month. Those are some serious power users, apparently.

But no matter how often consumers are actively downloading apps, they certainly are addicted to them. More than half (57%) use apps every single day, while 26% of tablet owners do. And 79% of smartphone owners use apps nearly every day, saying they use them at least 26 days per month, versus 52% for tablet users.

Facebook Still #1

Here’s another notable tidbit: 42% of all app time on smartphones takes place in that individual’s single most used app. 3 out of 4 minutes is spent in the individual’s top 4 apps. The top brands, which account for 9 out of the top 10 most used apps, include Facebook, Google, Apple, Yahoo, Amazon and eBay.

Facebook is the most used app, in both audience size and share of time spent among each demographic segment.

Social Networking, Games and Radio contribute to nearly half the total time spent on apps, indicating mobile usage is heavily centered around entertainment and communication.

On iPhone, users prefer spending time consuming media, with news apps, radio, photos, social networking, and weather as the highest-ranking categories, while Android users spent more time in search (Google) and email (Gmail).


Android Vs. iPhone

ComScore’s report also heats up the ol’ Android versus iPhone war, pointing out again that iPhone users have 40% higher median incomes, and engage with more applications. (9 more hours per month).

More details are in the full report here.

Gartner – 81% of large companies (US) now have the equivalent of a chief marketing technologist

From the MarTech Conference in Boston, Massachusetts, August 19-20, 2014. SESSION: Chief Marketing Technologists Symbolize Marketing’s Changing Role. PRESENTATION: Chief Marketing Technologists Symbolize Marketing’s Changing Role – Given by Laura McLellan, @lauramclellan – VP Marketing Strategies, Gartner Research. #MARTECH