Havas launches the world’s first “Meta DSP”

Affiperf, Havas’ programmatic pure player, extends boundaries of programmatic buying with the introduction of the world’s first real time, agnostic system to work across multiple Demand Side Platforms

Today, Affiperf, Havas’ programmatic pure player, became the first company in the world to offer brands the opportunity to operate seamlessly across multiple demand side platforms with one single point of contact with the launch of its “Affiperf Meta DSP” solution. This represents a significant leap forward in what is now called “the age of programmatic” as the topic continues to dominate the agendas of events such as this week’s Advertising Week in NYC.
As technology, data and algorithmic complexity have increased; automation in the media industry has become the new norm. Despite this, the potential of automated programmatic methods for real-time buying have been limited by the fact that until now, agencies were limited to using inventory from different Demand Side Platforms (known as DSPs) in parallel. As the number of DSPs in the market exploded, this added a rather frustrating and inefficient complexity to the process of optimisation and data collection in programmatic buying.Algorithms data and advertising

Following 3 years of research from Affiperf, a Fields Medal holder and renowned data scientists MFG Labs, the Affiperf Meta DSP solution offers for the first time, a way to unify and make sense of data sets across multiple platforms. It aggregates multiple assets using their APIs, i.e. data inventory, features and algorithms from a number of DSPs. It then uses modelling and decision engines to allow traders to recommend wider, more sophisticated strategic options and monitor them.

Pierre-Louis Lions, MFG Labs co-founder and Fields Medal holder 1994 comments: “Thanks to three years of extensive R & D we have been able to bring technical neutrality to the conception, implementation and optimisation of campaigns. This works both in the real-time bidding process as well as the design for even more integrated approaches that will enable us before the end of the year, to start managing our Affiperf Meta DSP solution for online and offline data and media.”

A unique answer to growing complexity

The Affiperf Meta DSP is powered by enhanced proprietary algorithms that offer clients fluid digitalisation, optimisation and addressability across formats. This ability to collate results and information into one unified marketing statistic marks the end to complexity in this critical area. Although increasing in size, the competitive landscape is not dominated by one DSP, but a fragmented ecosystem of DSP display, mobile and video, rich media DSPs, each of them having different rules, inventories and features. This makes it increasingly difficult for brands to get consistent answers and to see the bigger picture. Technologically agnostic, this is the first solution that is open to all DSPs and all technologies. Through this platform brands can therefore take advantage of the best technology available to reach out to and relate to people with greater speed in a more tailored environment than ever before.

Dominique Delport, Global Managing Director, Havas Media Group and Chairman of Havas

Media Group France and UK comments: “In today’s world, media is code and digital campaigns are like software. The idea behind programmatic when it first started was to secure instant contact between traders and brands that would enable our clients to benefit from an infinite number of connections with consumers in real-time. The explosion of data and the significant rise in the number of DSPs on the market has meant that this promise of programmatic was lost to complexity and silos.

Affiperf Meta DSP disrupts the market with the creation of one single tool that enables our clients to optimise choice across multiple platforms. As a result, our industry can finally take programmatic buying to the next level to help brands generate more tailored, more effective and more meaningful connections with people. This is programmatic without compromise.”

A worldwide roll-out

The initial roll out of the Affiperf Meta DSP includes, amongst others, the recently launched ONE by AOL, onto one open infrastructure. Accessible in over 102 markets, Affiperf will continue to develop the product in the coming months to increase the number of DSP platforms that can be analysed at the same time.

The Meta DSP was launched at the AOL Annual Programmatic Upfront in NYC during the first day of Advertising Week 2014

36% of people still don’t realise that Google Adwords are ads | Econsultancy

36% of people still don’t realise that Google Adwords are ads | Econsultancy.

Last year, we published the results of user tests which found that 41% of users were unaware of the distinctionbetween paid ads and organic listings. 

Well, thanks to UX firm Bunnyfoot, we have an updated version of the test, which finds similar results.

This time, 36% of people tested still do not realise that Google Adwords are ads.

Furthermore, about a quarter of people don’t know that Google had any advertising at all. And this despite the yellow text box proclaiming ‘ads’.

Why this research?

The original research came from Bunnyfoot’s work for a car insurance client who were investigating the effectiveness of Google Adwords.

During the research, the team found that 81% of users clicked on PPC ads rather than organic results.

Further investigation found that 41 of the 100 individuals tested did not know that Adwords were paid-for adverts, instead believing them to be the most authoritative links.

Since that last research Google, as is its prerogative, has changed the way its presents ad listings, possibly as a result of EU anti-trust measures.

This, in theory, should have made it easier for users to tell the difference between ads and organic results, though the issue is muddied by the fact that Google has removed the grey shading behind the ads.

That said, the word ‘ad’ with a bright yellow background is a bit of a clue…

Current PPC ad format:

Old ad format:

So how has this change affected users’ perception of search results pages?

Research methodology

The user testing was carried out in multiple locations across London. 103 participants with arange of internet abilities were tested, all of whom used Google as their primary search engine.

The participants covered a wide range of demographics and were aged between 18 – 65 years[≈ average human life expectancy at birth, 2011 estimate].

An eyetracker was used throughout the sessions in order to record where the participants were looking, and this generated aggregated heatmaps (Bunnyfoot looked at other factors of search result understanding and only report a subset here).

All participants were then asked a series of post-test interview questions to gather further insight as to their understanding of Google’s results pages.

The results:

  • When asked, 36% of users did not realise Google adwords were ads (a small change from 40% in 2012)

  • When asked, 27% of users did not realise that Google had any advertising. 

Note for the stats gurus amongst you: we of course realise that we have used a relatively small sample size (albeit a large one for user testing and eyetracking studies) and whilst the figures above have considerable sampling error it does not detract from their impact and surprise.

Have the changes to Google adwords made any difference?

The research suggests that the changes have made little difference to users’ ability to distinguish between paid and organic results.

Despite what I would assume was a clearer labelling of ads in the new formats, a significant portion of users still aren’t seeing the difference.

If I was a Google sceptic, I would suggest that the big G itself may have carried out similar tests to find the format that would satisfy the EU, yet still attract the most clicks. If clarity was the main factor, why remove the shading?

It also highlights the propensity for web users to miss what might seem obvious to those designing and working on websites.

The fact that 27% of those in the study when questioned did not realise that Google were doing any form of advertising in their results, further supports this, as well as being jaw-droppingly surprising in its own right.

What are the implications of this?

Pay-per-click is a very effective way of advertising your brand and reaching your target audience. It looks like about a third of people unknowingly click on ads and assume that ‘this is the best match’.

For the rest of those ‘in the know’ then the ads and the brands that pay for them still receive prominence, but the user can make an informed choice about whether to click a promoted link or not, depending on the context of the search.

Also, web designers and others ‘in the know’ should be wary of assuming ‘common’ knowledge on behalf of our customers.

According to Bunnyfoot CEO and co-founder Jon Dodd:

As our hundreds of user tests over the last decade have shown, it is very difficult to predict what customers’ knowledge or understanding is. When you do the tests, you are often humbled and surprised with how far off your assumptions are.

Graham Charlton is Editor in Chief at Econsultancy.

Publicité : Internet a dépassé la télévision pour la première fois (USA)

Publicité : Internet a dépassé la télévision pour la première fois.

Les dépenses publicitaires réalisées sur Internet ont dépassé pour la première fois, en 2013, les investissements des annonceurs sur la télévision. Ce record n’est cependant pas mondial et porte en effet exclusivement sur le marché américain.

Ainsi selon l’IAB, qui regroupe les industriels de la publicité en ligne, la pub sur Internet a représenté 42,8 milliards de dollars de revenus en 2013, aux Etats-Unis. Plus donc que la publicité sur le petit écran (40,1 milliards $).

Croissance molle en Europe 

Hors mobile, le segment du « display » est celui pour qui la croissance a été la plus forte (30%) à 12,8 milliards de dollars. En taille, le marché de la recherche sponsorisée, en croissance plus modérée (+9%), reste néanmoins le plus important (18,4 milliards $).

Si en Europe, la croissance du marché de la publicité en ligne est au ralenti (+3% en France), de l’autre côté de l’Atlantique, les recettes publicitaires ont augmenté de 17% l’année dernière. Une augmentation à laquelle la publicité sur mobile a largement contribué à hauteur de 7,1 milliards de dollars (+110% par rapport à 2012).

« L’information selon laquelle l’interactif a dépassé en performances la diffusion TV ne devrait pas être une surprise » assure le directeur de l’IAB, Randall Rothenberg. Selon lui, ces chiffres ne font que souligner la puissance des écrans numérique pour atteindre et engager les audiences

Comment la publicité va se réinventer – La Libre.be

Comment la publicité va se réinventer – La Libre.be.

ENTRETIEN OLIVIER STANDAERT Publié le lundi 10 février 2014 à 20h29 - Mis à jour le mardi 11 février 2014 à 17h25

Hugues Rey, CEO de Havas Media Belgium, décortique les tendances qui vont voir le jour dans le secteur.

L’année 2014 semble être celle de la reprise sur le marché publicitaire. Quels seront les modèles publicitaires de la relance ? Quels moyens et quelles stratégies les annonceurs vont-ils développer au cours des mois à venir ? Hugues Rey, CEO de Havas Media Belgium, décrypte un secteur qu’il connaît sur le bout des doigts.

La première chose qui a de quoi réjouir les annonceurs, c’est que la consommation globale des médias est en hausse. Pourtant, les consommateurs se disent souvent sursollicités de pubs. N’est-ce pas contradictoire ?

Cette hausse est réelle et s’explique en partie par le fait qu’à côté des médias classiques de masse, on assiste à l’explosion de l’Internet mobile, des réseaux sociaux et des nouvelles plateformes. YouTube, entre autres, draine de plus en plus de monde. Des sites comme Netflix (site de vidéo à la demande), s’ils débarquent en Belgique, témoigneront de la même évolution et du fait que les technologies dématérialisées bouleversent les usages et les relations entre les médias. Ce qui est important, c’est que les nouveaux médias n’ont pas tué les plus anciens. On travaille au contraire de plus en plus finement la complémentarité entre eux. C’est au bénéfice de la publicité.

Par exemple ?

Le cas de la télévision est éloquent. Havas Media a créé un indice permettant de mesurer le caractère “social” d’une émission. Est-elle commentée, et si oui, comment ? Pour les annonceurs, c’est capital, parce qu’une émission qui incite le téléspectateur à réagir sur Twitter ou Facebook permet à une marque de créer de l’engagement, du lien. Elle peut s’intégrer dans les buzz, dans les discussions, voire les créer. Et nous constatons que les émissions les plus sociales sont celles qu’on zappe le moins. Ce sont en général les événements sportifs en live et les émissions avec candidats.

Cette notion d’engagement est-elle réservée aux médias sociaux et à l’univers digital ?

Il faut raisonner autrement. Tous les médias sont concernés de près ou de loin par la digitalisation : la télé, la presse, la radio, même l’affichage d’une certaine manière. Un des atouts des réseaux sociaux, c’est en effet cette aptitude à générer des interactions et de l’engagement. Mais en réalité, tous les médias ont un potentiel à ce niveau : les médias payants restent les lieux clairement balisés où une marque peut diffuser un message non troublé et précis. Ils développent des logiques narratives propres et anglées, dans lesquelles les marques doivent pouvoir s’intégrer intelligemment. On les utilise massivement, comme caisse de résonance, pour créer le débat, interpeller. Ensuite, les discussions et interpellations nées d’une campagne dans les journaux, par exemple, doivent être dirigées, reprises et développées sur les médias sociaux.

Comment doit faire, à l’heure actuelle, un annonceur pour éviter les phénomènes de saturation, prévenir les bad buzz et autres revers d’image ?

La question est capitale. Les consommateurs sont devenus un peu plus sceptiques par rapport aux marques. Une stratégie que nous appuyons consiste à éviter de taper indéfiniment sur le même clou au profit de messages plus ciblés, plus en phase avec les goûts et les besoins des cibles. Plus que jamais, il faut construire des scénarios pour les marques. J’insiste : à long terme, alors que nous sommes entrés dans l’ère du “real time marketing”, où les décisions se font en quelques secondes, avec des algorithmes. Si une marque n’a pas construit ses scénarios dans une perspective de long terme, elle ne pourra pas faire les bons choix publicitaires dans les délais de quelques secondes qui dirigent notre époque. Elle risque alors de disperser son message, de faire du bruit. Il y a une déperdition importante.

i incite le téléspectateur à réagir sur Twitter ou Facebook permet à une marque de créer de l’engagement, du lien. Elle peut s’intégrer dans les buzz, dans les discussions, voire les créer. Et nous constatons que les émissions les plus sociales sont celles qu’on zappe le moins. Ce sont en général les événements sportifs en live et les émissions avec candidats.

Plus ?


La pub pour sauver l’industrie du disque? (Julien Briquet – Focusvif.be)

Dans un marché de la musique qui se réinvente, la publicité a pris des allures d’Eldorado. Alors qu’Edward Sharpe (Peugeot, Citroën, Microsoft), remplissait l’Ancienne Belgique, plongée dans le monde de la synchro publicitaire.

Lundi, Edward Sharpe et ses Magnetic Zeros remplissaient l’Ancienne Belgique. Pas le Club, le Box ou le Flex. La grande Ancienne Belgique. 2000 personnes rien que pour eux. Hippies poilus aux longues douilles adeptes de la vie et de la musique en communauté façon Polyphonic Spree… En 2009, personne n’aurait misé un kopeck sur l’illuminé Alex Ebert quand il a décidé de prendre ses distances avec le punk pour dancefloor d’Ima Robot et s’est réinventé en folkeux messianique envoyé sur terre pour sauver les hommes tout en restant susceptible d’être distrait par les femmes.

Son succès, le Californien, fils d’une actrice et d’un psychothérapeute musicologue, le doit en bonne partie à la publicité. A ces spots (Peugeot, Microsoft, Citroën, NFL, Ford…) qu’il a enquillés et qui l’ont transformé en sonneries de GSM pour ménagères de plus de 40 ans. Extrait de son premier album, Up From Below, sorti en 2009, Home est devenu un tube l’an dernier en France grâce à la publicité pour la Crossover.

Thomas De Mot travaille depuis pratiquement dix ans pour Strictly Confidential. La branche édition du Pias Group. Son boulot? Il place des chansons dans des films, des séries télé et, plus intéressant financièrement, des publicités… Dans son catalogue pour ne citer qu’eux se bousculent les Editors, Soulwax, Goose, Vitalic, les Girls in Hawaii… “J’ai en permanence en tête des dizaines de milliers de chansons. Nous gérons environ 500.000 titres. Certains appartenant à des labels américains qu’on représente en Europe. La synchronisation est un boulot assez particulier qui demande avant tout de se tisser un réseau tentaculaire. Pour placer des morceaux, il faut connaître les bonnes agences, les bonnes boîtes de prod, les bons réalisateurs. Après, il faut être présent. Faire connaître ses artistes. Occuper le terrain. On a par exemple quelqu’un pour nous représenter à Los Angeles…”

La pub est depuis quelques années, et au même titre que les séries télé, devenue prépondérante dans le marché de la musique. En ces temps difficiles, dématérialisés, individualisés, elle rapporte gros et joue un rôle de vitrine plus déterminant que jamais. Beaucoup de téléspectateurs, aidés par Shazam et autres logiciels de reconnaissance musicale, découvrent de nouveaux groupes entre deux programmes télé. Se retrouver dans une publicité, c’est un premier pas vers le succès et la crédibilité. Eventuellement un moyen de doper les ventes d’artistes encore méconnus.

La suite: http://focus.levif.be/culture/musique/la-pub-pour-sauver-l-industrie-du-disque/article-normal-12523.html

5 Companies That Transformed Advertising In 2013 – Forbes

5 Companies That Transformed Advertising In 2013 – Forbes.

The convergence of social, video and mobile technology is rapidly changing the face of advertising. Just over a decade ago, search and display ads were all a company needed to reach their target audience online. Search-related ads accounted for43 percentof total U.S. online ad revenue in the second quarter of 2013, with display-related ads constituting 30 percent. In today’s evolving online ad environment, companies need creative and out-of-the-box approaches.

A countless number of startups have emerged to meet the demand, many in the native advertising space. In fact, many industry and business leaders are hailing native advertising as the next big thing. A recent study found that users viewed native ads 53 percent more frequently than display ads. Below are five companies whose innovations helped shape the native, and overall, ad space in 2013:

BuzzFeed – Sponsored articles

BuzzFeed is a news and entertainment website which offers a selection of original reporting, as well as paid-for posts, covering everything from politics and fashion to food. Sponsored posts, which are created by a client-facing team separate from the editorial department (which reports on politics and other items), are central to BuzzFeed’s business model and have proven to be an effective advertising channel. Not only did the site get 140 millionuniques in November, according to VP Ashley McCollum, but additionally it is estimated that once BuzzFeed content goes viral it gets as much as 34 times the traffic it ordinarily would. While some have criticized BuzzFeed for blurring the lines between journalism and advertising, recent hires like former New York Times journalist Lisa Tozzi indicate that BuzzFeed is becoming increasingly serious as a news source.

Taboola – Sponsored recommended content

Taboola is a content recommendation and distribution platform that helps consumers discover new content likely to be of interest. The platform powers an average of three billion daily recommendations to over 300 million monthly visitors across publications such as USA Today, TMZ, The New York Times and Huffington Post. Content recommendation platforms have long been criticized for their lack of transparency. As a result, Taboola recently launched Taboola Choice — letting users flag content they don’t like — and has added “Sponsored Content” and “Promoted Content” indicators to its widget, all as part of a company strategy that aims to promote user empowerment and content democratization.

TripleLift – Sponsored images

TripleLift is is an image-based advertising platform which aims to replace banners with meaningful and engaging native image-based ads. The TripleLiftplatform repurposes a company’s images from social networks like Pinterestand turns them into ads which are designed to blend in with the other images on a webpageTripleLift tracks the popularity of different images on social networks and repurposes only the most popular images. On the average day,TripleLift analyzes over 24 million images from brands such as Martha Stewartand H&M . Currently these native image ads can be found on sites like Foodgawker and Pictacular among others. Gucci also used the platform to launch its Fall/Winter 2012 digital campaign.

Disqus – Sponsored link

Disqus is a commenting service platform which can be integrated seamlessly into websites and blogs for interactive and engaging discussions. The Disqus platform adds a feature-rich comment system to sites, offering a host of community management features including social network integration and advanced administration. Disqus also offers a Promoted Discovery feature which appears in a box below the Disqus comments section and highlights other articles readers might like. This feature increases the number of pages viewed on average by 56 percent and time spent on pages by 166 percent. The platform has been well received and is being used by companies such as MTV ,American Express AXP +0.24%, Citibank and Intel to advertise their brand.

Songza – Sponsored playlists

Songza is a music platform which provides listeners with playlists tailored to their mood or current activity. In this way, Songza hopes to provide listeners with the best music for any particular situation. The tailored playlists are compiled by Songza’s team which includes music journalists, critics, DJs and musicians. Songza also offers a unique advertising channel which it calls Branded Moments, where any brand can sponsor a life moment such as driving or working out. Some of these life moments have already been sponsored by companies including Nissan, Samsung, Victoria’s Secret and Colgate. By sponsoring a playlist, brands are inadvertently interacting with consumers and getting them to associate positively with the brand.

The online browsing experience is becoming increasingly sophisticated and personalized. Online ads that hope to engage users need to adapt accordingly. The reality is that there is increasingly less room for intrusive online ads. These and other startups are beginning to usher in an ad revolution.

Carriers combining television ads with Twitter advertising, customer acquisition cost for TV advertising: 35% improvement.

Twitter has huge Impact on TV Ads and TV Conversations.

In Twitter’s own words, the way the world is experiencing TV, is fundamentally changing. Viewers have become more active and share experiences as the events unfold on television screen. The fact that tweeting about television programmes is becoming the new normal, Twitter has found itself being instrumental in how TV is actually measured. In order to capitalise on this opportunity twitter has started TV ad targeting. This was made possible by the acquisition of Bluefin labs and allows marketers to engage directly with people on twitter who have been exposed to Ads on the television sets. Here is Techcrunch’s take on the development:

“Twitter TV Ad Targeting lets advertisers target these people with Twitter Promoted Tweets ads that show up in their stream. Those could include pure text tweets reinforcing the commercial, a link they can follow to learn more or make a purchase, or even a Vine to give viewers a second dose of video marketing”.

So is this new strategy working? Well in an analysis conducted for Twitter, advanced marketing analytics firm MarketShare, has found that TV ads were more effective when combined with Twitter paid advertising for the category examined. This study – which focused specifically on new mobile service subscribers in the UK, has found that for mobile carriers, TV advertising generated new customers at an average of $131 [≈ Household daily income, 2011] each when there wasn’t Twitter paid advertising. But for those carriers combining television ads with Twitter advertising, customer acquisition cost for TV advertising dropped to about $83 or £50 – a 35% improvement. Twitter Impact on TVAds

“We have always believed that Twitter is a powerful complement to television, and this study supports that,” was the view of Adam Bain, President of Global Revenue for Twitter. “MarketShare’s ground-breaking work, using big data techniques and leading edge analytics, helps us quantify how Twitter can be a force multiplier, making television advertising even more effective than ever.” Twitter as a social force can directly boost TV ratings when users use the site to share their immediate reactions to a show, an August, U.S. Nielsen study reported. The TV industry is hoping to turn the tide of migrating viewers increasingly turning to DVRs and cloud services like Netflix and Amazon Lovefilm. Good luck with that. I can tuck into a Breaking Bad boxset anytime I like on Netflix, how is conventional tv going to compete with that?

As marketing complexity continues to expand, big brands will continue to seek new insights into how marketing channels interact, and how best to allocate marketing dollars. Fresh from its IPO, Twitter has quantified the financial impact of paid advertising thanks to Marketshare, on its platform with true return-on-investment  metrics that can help brands make more informed marketing choices. It will interesting to see if future analysis will further explore the interplay between Twitter, TV and other marketing channels across more categories and geographies.