‘You get 2 seconds to engage consumers online’: Mars neuroscientist shares key findings

By Kenneth Hein

This 15-second M&M’s spot scored best online.

Mars shares key findings from one of the largest, on-going neuroscience studies in the world. The problem is marketers may not like the results. Have we got your attention?

Digital ads are now the equivalent of a print or out-of-home ad. Why? Because extensive neuroscience studies, conducted by Mars, show that similar to these traditional methods, marketers now only have about two seconds to capture consumers’ attention in the digital realm.

Source: https://www.thedrum.com/news/2020/08/13/you-get-2-seconds-engage-consumers-online-mars-neuroscientist-shares-key-findings?utm_campaign=Newsletter_Weekly_Media&utm_source=pardot&utm_medium=email

Mars, the family-owned global company behind brands like M&M’s, Wrigley’s gum, Skittles, and the like, thrives on impulse buys for many of its products. What Sorin Patilinet, global consumer marketing insights director, Mars, Inc., and his team in the communications lab, are trying to solve for is how to first draw attention and then create an emotional connection. The two together are the magic formula for triggering impulse purchases.

“You don’t go to the store with gum on your shopping list,” says Patilinet. “We want to reach as many people as possible to build this memory structure, which will be triggered at the point of purchase, especially since half of our categories are mostly impulse buys like chocolate and gum.”

His team has spent the past six months working with RealEyes and other partners to develop what it calls the “future of pre-testing.” Through anonymous “facial coding,” it can detect attention and emotion. It has tested 130 digital ads across key geographies from the US to China in various durations ‑ six, 15, or 30-seconds and even long formats on YouTube, Facebook, and other platforms.

This is the latest tool within one of the largest neuromarketing studies in the world, which is now in its fifth year. One of the biggest takeaways from it all: “Marketers would be shocked if they knew how little active attention some of their executions are getting,” says Patilinet. “They think that people watch all the 15-seconds, and then they find out that in some cases, it’s only two seconds.”

In addition to the new “future of pre-testing” tool, Mars has gathered 4,000 campaigns from which they have identified a direct sales impact. They’ve done so in partnership with Nielsen, Catalina, IRI, Kantar and GFK. Of those thousands of ads, they’ve tested 250 for various elements of the cognitive process, attention, emotion, and memory. They’ve learned from the good and the bad to develop an understanding of what a “four-star ad” looks and feels like. The key finding: attention is a strong proxy for sales impact.

But attention alone isn’t the answer. “We look at it as a ladder. The first need is attention because we know that attention is declining. Once you’ve gotten that attention, you can then start eliciting emotions. We’ve proven that by building emotions, you can encode your distinctive assets into the consumer’s brain much, much better. And then [those assets] can be recalled. So, the ultimate goal is not emotion. The ultimate goal is memory encoding. But that happens faster through emotions than through rational messages.”

There are four challenges when it comes to creating emotional ads.

Emotion takes time

The number one thing Mars realized is that it’s very difficult to elicit emotions in short form. The creative moves into a very tactical, rational space because of the short duration. A Facebook ad on newsfeed is seen for two seconds and a YouTube skippable ad is skipped as soon as possible. “So, we front load our creative. And this creates a little bit of tension with our belief that ads require emotional messages,” says Patilinet. “The ads that we tested have lower levels of emotion. Our conclusion was that it’s probably because we’ve moved from 30 seconds to now six seconds, that it’s difficult to elicit emotions. And because we need our logo and we need our brand [in those six seconds], it’s hard to make the ad emotional without a story.”

You can’t trick your customers

Attention too often becomes the element tricking consumers into watching your ads. “We’re not really looking for that because we know that that does not create a long-term relationship. We want to teach them about something and then show them the product. Digital ads now are very similar to what out-of-home ads were in the past or print ads because you basically have one shot in which to say your message and that’s it.”

You need to strike at peak attention

Brands need to show their product or to highlight their brand at moments of peak attention. “We’ve landed on peak attention as a KPI that that drives success in digital,” he says. This issue is marketers have a maximum of five seconds to make in impact. “The only thing we can do is to elicit some polite attention within the duration that they watch.”

Don’t forget the art

Ads are a mix of art and science, says Patilinet. “We’re trying as much as possible to push the science. But you can only push it up to a certain level because there’s the art that your agency will come up with. We don’t want to become overly technical.”

So, what works? Here is one M&M’s ad that really scored high on attention and emotion. No change was needed to it.

Patilinet and his team will continue to investigate how to strike the correct balance by leveraging neuroscience. They will also use it to remain rooted in reality. “I’d love to still live in the mirage, but I have my feet on the ground. We just need to be mindful that attention doesn’t become lower that because we’ve been doing this ourselves. Too many ads, too much clutter on websites has created this attitude of removing ads from your life.”

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This article is about: North AmericaNeuroscienceMarsDigitalYoutubeMarketingDigital MarketingDigital AdvertisingDigitalBrand

“Alexa, is there anything good happening on Prime Day this year?” “…Did you check eBay?”

Shop the Crash Sale starting 7/15.

#CrashingPrimeDay

Ebay has thrown down the gauntlet to Amazon announcing its very own “blockbuster” sales event to troll its online rival.

In an effort to cash in on the Amazon Prime day hype, Ebay has said it is set to launch a “Crash Sale”, a thinly veiled dig at Amazon’s propensity to crash during its Prime Day event, thought to have cost it around $90 million last year.

Ebay will offer discounts of up to 50 per cent on leading technology brands including Apple, Samsung, KitchenAid, Garmin and LG during Amazon’s 48-hour Prim Day event beginning on July 15.

Embedded video

eBay

@eBay

We’re crashing the party with deals on things you actually want. Stay tuned. 🎉

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However, if Amazon should crash during the event, Ebay has promised to pile on more “too-good-to-be-true” deals to abate shoppers need for a tech bargain.

This forms part of a wider sales event for Ebay, which will be offering deals of up to 85 per cent off certain items for three weeks starting July 1, including robot vacuums, stand mixers, smart home gear and more.

READ MORE: Amazon Prime Day to run for 48 hours for the first time

From July 1 – 7 this will take the form of “July 4th Savings”, followed by “Hot Deals for Hot Days” from July 8 -22 which will include daily deals on tech, appliances and smart home devices.

“Ebay is primed to deliver exactly what shoppers want during this year’s crash (sale),” vice president of Ebay Americas Jay Hanson said.

“July has become a massive shopping season, and our summer sales include blockbuster deals that will not disappoint.”

Confirming Trends: People watch TV on Youtube & Youtube on TV

The way we watch TV is changing. We’ve seen this in the rise of live-streaming, in the growth ‘second-screening’, in the expanding consumption of video on social platforms. As video becomes more accessible – through improved network capacity and digital platforms – audiences are adjusting to that shift.

And that has big implications for marketers.

Underlining this, Google has released a new infographic outlining some of the key audience trends they’re seeing on YouTube, including the increase in users watching YouTube content on TV sets, the rising popularity of YouTube stars and how viewers are shifting their prime time consumption habits.

This is an important trend – it’s worth paying attention to these key shifts.

YouTube Releases New Stats on User Viewing Behavior [Infographic] | Social Media Today

The evian babies are back, welcome to Baby Bay ! ‪#‎evianBabyBay‬ #BETC

The most eye-catching surf spot around – except here it’s the size of the surfers and not the size of the waves that turns heads.

Partners since 22 years, evian and BETC Paris, have set their latest film on an exotic, slightly rugged beach, treating the ears as well as the eyes with a cover of the classic Beach Boys hit “Kokomo”, performed by Lilly Wood and The Prick.

In this short film, a surfer falls when taking on a wave, then wakes up on a beach surrounded by stylish, cool, and incredibly young surfers – which might have something to do with the fact that the only bar on the beach is serving evian.

Staying true to the “Live young” signature, the film reaffirms evian’s vision of youth: a positive and universal value and an openness to the world and the unexpected, regardless of age.

Directed by James Rouse and produced by Wanda studios, the “Baby Bay” spot will be surfing the web from April 20th, before making waves on cinema and TV screens.

A virtual reality application designed by agency Versus Fully Tailored Creation in partnership with Quiksilver will present a fun and outlandish immersive 360° experience inside a wave. Put yourself in the shoes – or rather the wetsuit – of a baby and perform some iconic surfing moves. Available from April 19th on Google and Apple Appstores.

Who’s that girl ?

For the outdoor campaign, a famously baby-faced it-girl will be appearing in the US as a surfer with her baby lookalike. Find out who it is at the latest web surfer hotspot, the hub babybay.evian.com.

Packs and bottles will display images of baby surfers, but also their adult versions, as they would have looked before drinking evian. A collector’s bottle that reveals the “babyfied” reflection of the film’s hero through the water will also be distributed in large retailers and convenient stores.

evian x colette:

The legendary Parisian concept store colette will also be experiencing a wave of youthful energy as of April 20th. Here, customers will find three baby surfer t-shirts, as well as special edition flip-flops for adults that leave a baby footprint in the sand.

Ah, one last message from the baby crab you’ll meet on thebabybay.evian.com hub : don’t leave your bottle on the beach. Remember that evian bottles are recyclable.

Hello play! presents “THE FUTURE OF MUSIC” (360° video)

Hello Play!, la plateforme musicale de Hello Bank!, imaginée et soutenue par Digizik, annonce une première mondiale : une vidéo 360° ultra-scénarisée sur un track électro, à télécharger gratuitement. “The Future Of Music” propose aux internautes une expérience inédite, au cours de laquelle ils se retrouvent englobés dans un univers captivant. depuis des angles multiples. L’expérience est décuplée sur smartphones ou tablettes. Le projet est le fruit d’une co-création entre Greg Barth, artiste-réalisateur suisse basé à Londres, et Polar Youth, une jeune productrice belge de musique électronique.

“THE FUTURE OF MUSIC” is a ground-breaking 360° experience immersing you in a surrealist musical universe.

To view this project at its best use the YouTube or Google Cardboard app on IOS and Android. You can move your phone around to explore the space. Recommended viewing is with an iPad. You can also watch on your desktop or laptop with Google Chrome using the cursor to navigate.

FREE DOWNLOAD of the exclusive Polar Youth track: https://goo.gl/mJHO89

© Copyright Hello play! 2016

Website: http://www.helloplay.be

Facebook: http://www.facebook.com/helloplayers

Twitter: http://www.twitter.com/helloplaybelgiq

Soundcloud: https://soundcloud.com/helloplay

IKEA Video content: Kids & Kitchen #cookingwithparents

IKEA believes that children are the most important people in the world, and that there is a lot to learn by listening to them. So we think it’s time to let kids into the kitchen.

Content approach based on insights:

According to the IKEA’s Life At Home Report, watching TV has become the most common family activity (82%), particularly in the UK (88%), the USA (88%), Spain (86%) and the Netherlands (86%).

In an attempt to change this, IKEA has made it their aim to bring the kids back into the kitchen. It is all about making out the do’s and don’ts, and instead focusing on five rules that will make cooking fun for kids, as well as manageable for the parents.

Today, IKEA presents “Cooking With Parents” – a manifesto from children to parents.

See the funny and cute campaign video here and learn more about the five rules:  https://youtu.be/4jg7OtBUcW4

How to ….

Rugby: Pour la troisième mi-temps, les Français refont le match sur #YouTube

La Coupe du monde de rugby 2015 est lancée. C’est parti pour six semaines de compétition intense. Quatre ans après la victoire des All Blacks en Nouvelle-Zélande, tous les fans du ballon ovale ont les yeux braqués sur l’Angleterre. Ils vibrent au rythme des plaquages, des mêlées et des essais sur PC, tablette et smartphone. Et pour la troisième mi-temps, les Français refont le match sur YouTube !

TF1 et Youtube dans le même GRP Vidéo !

Publicité : TF1 et Youtube dans le même GRP Vidéo ! — Bouillonnements numériques.

source: http://blog.lefigaro.fr/philippe-bailly/2015/05/publicite-tf1-et-youtube-dans-le-meme-grp-video.html

Cette fois la direction est clairement affirmée : « C’est un pas de plus vers la convergence des mesures d’audience TV et Internet », commentait ce lundi Benoît Cassaigne, le Directeur des mesures d’audience de Médiamétrie, après la confirmation du lancement en juin du GRP Vidéo.

La mise au point de cet « indicateur commun aux visionnages de publicités vidéos sur téléviseur et sur Internet » constitue l’aboutissement de trois années d’échanges entre éditeurs, régisseurs, agences médias, organismes professionnels… : le 16 avril 2012, Médiamétrie avait annoncé développer en partenariat avec Google un panel spécifique visant à “mieux comprendre la complémentarité entre les écrans : télévision, ordinateurs fixes et portables, tablettes et mobiles“.

De l’exercice de compréhension, on est clairement passé en phase active de rapprochement des conditions commerciales applicables à la télévision et au Web.

Le dernier pas vers la mesure totalement unifiée – celui qui verra éditeurs et producteurs recevoir à 9 h 10 les audiences réalisées par les programmes la veille, quel que soit l’écran et quel que soit le réseau sur lequel ils ont été consommés – n’est plus très loin. Les Allemands l’ont même déjà franchi : l’équivalent local de Médiamétrie AGF a annoncé fin avril que « les résultats de YouTube seraient intégrés dès cette année dans les audiences mesurées ».

Mais une phase de pédagogie sera certainement nécessaire pour accompagner l’arrivée de cette nouvelle mesure, sur la façon de comptabiliser les spots regardés en ligne en particulier. « Le marché a approuvé, pour le GRP Vidéo,  une définition du contact Vidéo sur Internet basée sur la durée de visionnage et la part de surface exposée », indiquait lundi la communication de Médiamétrie. « Si j’ai un pré-roll de 30 secondes et que ce pré-roll est entièrement vu cela vaudra 1. Si je vois la moitié de la surface, la moitié du temps, cela vaut 0,25 », expliquait à l’automne dernierBertrand Krug, le directeur-adjoint de Médiamétrie / Net Ratings.

Restent au moins deux questions :

–          Concernant les conséquences de cette nouvelle mesure sur les modes de commercialisation des espaces, d’abord, et sur le rapprochement qui pourrait en découler en termes d’outils de reporting comme de médiaplanning.  Le GRP Vidéo pourrait bien être le cheval de Troie qui prépare l’extension à la télévision des techniques d’achat en programmatique (RTB) massivement utilisés aujourd’hui sur Internet. Avec l’étude « Programmatique en TV, nouvel enjeu de l’achat d’espaces publicitaires », NPA Conseil analyse les enjeux d’une telle évolution (identification des acteurs-clés, aspects techniques, implications sur le cadre réglementaire, enjeux commerciaux et impact en terme de rapports de force sur le marché…).

–          A propos de possibles répercussions sur le prix des espaces ensuite, avec la crainte que la constitution de facto d’un inventaire commun réunissant télévision et Web exerce une pression à la baisse sur le prix des espaces.

Les groupes audiovisuels ne sont pas démunis pour parer à cette hypothèse. En premier lieu, la totalisation des audiences qu’elles génèrent sur l’ensemble des écrans offrira une meilleure approche de leur puissance globale, et les offres mixtes TV Web qu’elles pourront créeer leur permettront d’améliorer la couverture sur les cibles les plus friandes de vidéo en ligne.

Et de même que Youtube ou DailyMotion ne commercialisent pas au même prix le film familial UGC (user generated content) et le contenu premium (official content), TF1, France Télévisions, M6 ou Canal+ ne manqueront pas aussi de faire valoir la valeur différenciante du contexte éditorial garantie aux marques. Le Baromètre de la télévision de rattrapage réalisé depuis 2011 par NPA Conseil et GFK en partenariat avec la SNPTV répond bien à cette motivation. Et demain sans doute la télévision s’inspirera-t-elle de l’exemple de l’étude Audience One qui réunit les audiences des marques de presse dans l’ensemble des univers physiques et numériques. Gutenberg source d’inspiration pour John Baird !

54% of CMOs Supplement TV Ads with Digital Video

54% of CMOs Supplement TV Ads with Digital Video.


The CMO Club and Simulmedia have released the report “The Future of TV and Digital Video.” It’s the result of a survey of more than 80 senior marketers. Over half (54 percent) said they use digital video to supplement TV as a holistic strategy, but only 31%align their budgets for TV and digital advertising spend. This separation leads to a disconnect between the value of each medium, as just over half (52%) claim that they have different expectations across the two platforms. In addition, 75% of CMOs say that they measure reach the same way for both TV and digital video and but only one-third see Nielsen as the ongoing foundation of their reach metrics.

“CMOs say they want a holistic strategy, but neither plan, measure or budget for it as one thing,” says David Cooperstein, CMO at Simulmedia and author of the report.

Other findings:
* In the past three years, digital spend has gone from 10%of advertising budgets to 24% and is forecast to rise to 36%in the next three years.

“For over a decade, marketers have attempted to find the most efficient balance between TV and digital video spend,” says Pete Krainik, Founder of The CMO Club. “Our report shows that it’s not TV vs. digital video, it’s about TV and digital video, both today and for the foreseeable future.”

*In the US, digital video advertising expenditures are exploding. Figures from eMarketer show that digital video ad spending is estimated at $6 billion this year, growing around 42% annually. However, the actual dollars spent in TV still greatly trumps digital video. TV advertising dollars in the US were approximately $76 billion in 2014 and still growing by a smidgen more than 3% annually. While both will continue to grow, TV will continue to add more raw dollars of advertising than digital video will, particularly during pivotal political and Olympics years.

“Digital depth cannot match TV’s breadth. Nor should it. Conversely, TV has not historically been as measurable or personalized, so it cannot perform the magic that digital delivers. In that very unique way, TV and digital do not compete, they complement. The winning combination is the joint approach. TV’s reach and digital’s depth make them amazing partners in the marketing mix,” says Cooperstein.