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Media Buying Briefing: Omnicom launches a retro-style panel to codify post-pandemic consumer types

Omnicom Media Group, Digiday has learned, has launched OMG Signal, a newly formed consumer panel of approximately 2 million Americans it can access at any time (who have opted in under new privacy-compliant language) via online survey, to enhance the company’s Omni data platform.

The consumer panelists, which reflect age and geographic averages for the U.S., are pre-matched with audiences Omni identifies for OMG’s clients, which range from McDonald’s to P&G and Delta, and are adaptable across any number of media formats and screens. Because it is integrated directly within Omni’s identity graphs, the panel’s insights can be automatically layered into media planning, activation, and measurement, allowing for quick pivots on client campaigns — either creatively or in placement. Areas of interest include gender insights, generational differences, cultural and multicultural trends, and attitudinal and psychographic profiles.

The industry is “in the middle of a great reset in marketing,” Scott Hagedorn, CEO of OMG North America, told Digiday for this exclusive. “We’ve been working for a long time in using behavioral data — we were an early user of it for marketing purposes. But that’s only how someone behaves, it’s not what motivates them to behave. So we wanted to make more of a leap into the qualitative and anthropological side of it while still having a quant capability. It seemed prescient.”

The COVID pandemic has affected so many aspects of everyday life, that a significant chunk of data and research gathered about consumer habits and sentiment in the years before March 2020 are questionable at best, and completely irrelevant at worst. The pandemic itself has changed the attitudes and outlooks of millions of Americans in ways that will dramatically affect how advertisers market to them.

It hasn’t helped that at the same time, more powerful privacy regulations and tectonic changes in identifiers have further inhibited the ability of advertisers and agencies to understand consumers to market to them more effectively.

These are the main reasons Omnicom kicked into action trying to document these changes and adapt their strategies accordingly. And it’s employing an old-school approach, in the form of a consumer panel layered onto its data unit, to generate insights on these changed patterns and mindsets.

The seeds of OMG Signal actually started during the runup to the last election cycle, said Hagedorn, but became far more urgent as the pandemic wiped out decades of insights since peoples’ lives and priorities had been indelibly altered. Its timing comes as the industry faces new privacy regulations and technological updates that force consumers to acknowledge the sharing of their data.

Renee Cassard, OMG’s chief audience officer, said OMG Signal is uncovering behaviors and personality archetypes that can be used to adapt clients’ creative and media approaches. “Because we can identify households and individuals that have those differences in mindset, we can use that to change our bidding and dynamic content strategies,” said Cassard. “We may want to focus our communications around online commerce experiences for audiences who are reticent to reenter society or in-store shopping environments, for example. We may want to pivot the creative for people who are more optimistic and want to get out and experience new things again. We’ve always believed in going directly from insight to activation, and this is going to elevate our approach by enabling us to use those differences in mindset to inform how we go to market.”

An initial pilot test with a vaccine maker was conducted within OMG’s data-forward media agency Hearts & Science to look at vaccine hesitancy and adapt media activation accordingly, said Hagedorn, who declined to name the manufacturer.

Why go with an old-school consumer panel? “The data anyone has collected up to this date — how valid could it be after the year and a half that we’ve had?” asked Hagedorn. “This is one of the many things we’re starting to do to migrate out of just being seen as doing buying and planning for clients, into doing orchestration and curation,” added Hagedorn. “Increasingly, with where media is going, it’s looking a lot more like orchestration and curation than planning and buying.”

Color by numbers

Digital retail advertising is hotter than it’s ever been, aided by the fact that for the last year so many people have been shopping from home due to the pandemic. Advertiser Perceptions looked into spending in the segment, surveying 250 advertisers (40 percent marketers, 60 percent agency folk) in February.

It found that in 2020, 55 percent increased their retail ad spending in the past year — 18 percent of them significantly — while 20 percent kept even levels, and 26 percent reduced spending.
Of those that reduced advertising, 11 percent said they would restore spending levels in Q2 2021, while 44 percent will increase in Q3 and 24 percent in Q4.
Though e-commerce sites remain primary destinations for budgets, advertisers are increasingly including OTT/CTV, email/newsletters and podcasts in their outlays.
But concerns remain when using digital retail: Data security worries 48 percent of advertisers, while 42 percent aren’t satisfied with targeting capability and 38 percent take issue with associated costs.

Takeoff & landing

IPG’s Mediabrands Content Studio and media company Vice announced they are partnering to co-create content, tapping into Vice’s properties, including Pulse Films and Refinery29. The deal does not include media spend on Vice’s properties.
German supermarket chain Lidl named independent shop Novus Next for its local buying and planning across the 19 east coast markets in which it operates 140 stores.
Another independent shop, Mediasmith, landed media AOR duties for retail chain PetSmart. Empower was the incumbent.
Finally, independent SCS (Schiefer Chopshop) made several hires, including bringing investor Glenn Rogers on as chief development officer and hiring Andres Torrente as head of media, who most recently was director of media strategy at Omnicom’s Hearts & Science.

Direct quote

“I absolutely respect the history of Hollywood and media, but I don’t feel obligated to cut and paste it going forward. In fact, I think that would be the complete wrong strategy.”

— Jason Kilar, CEO of WarnerMedia, in a profile by The Wall Street Journal

Speed reading

Digiday media reporter Sara Guaglione reports on IAB’s first Podcast Upfront, taking stock of what’s expected to be a $2 billion ad market in audio ad opportunities.
Also, Digiday’s platforms, privacy and data reporter Kate Kaye explains how Amazon matched up in-store purchase data from its Whole Foods grocery chain to inform the ads it serves up through its demand-side platform.
With the formal upfront presentations taking place this week, Variety offers up an at-a-glance primer on the ad sales heads of the major media companies presenting.
Axios charts the growing popularity of brands that have consciously chosen to get more political, on both sides of the aisle, including Patagonia and Chick-fil-A.

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‘2022 is still a question’: Why in-person events aren’t on the agenda any time soon for Adobe CMO Ann Lewnes

There’s a light at the end of the pandemic tunnel as vaccine rollout continues to ramp up in the US. Some brands and agencies have already started planning a return to in-person events this fall by way of hybrid models — i.e. in-person events with digital elements. But other marketers are still hesitant to make any formal commitment to in-person events.

Like most brands responding to the pandemic, Adobe quickly pivoted major annual conferences (like Adobe Max and Adobe Summit) from in-person to completely virtual. With an eye toward the future, CMO Ann Lewnes said Adobe will continue to experiment in the virtual space as normal life in 2022 is yet to be determined. Digiday caught up with Lewnes to discuss what the brand has learned from hosting virtual events and what’s next.

This interview has been lightly edited and condensed for clarity.

Given we’re still in a global pandemic, Adobe is fresh off the heels of its second virtual Adobe Summit. How was that experience? Any takeaways?

Honestly, it was the best summit we’ve had — which, I know is kind of antithetical to what one would believe in a pandemic. One of the benefits is that the preparation that you can do in advance of these events is pretty staggering, because [of] the ability to pre-record a lot of the video content and edit it. And the scale, you can get a lot more people to view the content. When you’re in a Las Vegas ballroom, you can jam 20,000 people in there. But when you have an event online, you can get hundreds of thousands or even millions of people to attend if the content is absolutely paramount. Hundreds and hundreds of people pre-registered, which is great. And then millions of people watching all the videos — we had 20 million video views, which is really crazy. Those are the advantages: the scale, the preparation, the ability to help people with additional agenda and just the ability to have much more content viewed by many more people.

Anything you miss about having in-person events?

The thing you miss, of course, is that intimacy you can get with your peers, colleagues, network, especially with business to business. Those customer meetings are really important because those relationships are critical when you’re doing a large transaction. We all miss that. Having a live show, there’s an energy and dynamic feeling of having something live.

What was the strategy behind having to pivot to a fully-digital event as the pandemic was just settling in last March? How did your team approach messaging?

It was crazy. On March 11 last year, we decided to close all of our offices internationally. It was an extraordinary communications effort as you can imagine to get everyone to stay at home. We sent out an email a few days before we closed the offices, saying we would not be able to have the event. And then we had to create all this content. It was a mad rush. For keynote speakers, we sent them a video production setup so they could make higher-quality content.

We set the bar for the time in terms of what people would view [virtual conference content]. That said, between then and now, we’ve gotten eons better [at hosting virtual conferences] because we understand how to do this now.

People were disappointed [last year] and there was social media traffic with ‘Oh, I’m bummed’ but no one was like ‘What are you doing? That’s crazy.’ Everybody understood completely because people started not wanting to travel. Who wants to be in a room with 20,000 people in a Las Vegas ballroom? That’s the worst place on earth to be during a pandemic.

So we’re still in a pandemic and we’ll continue digital events this year, even in light of vaccine rollout. What do 2021 and 2022 look like for Adobe events?

2022 is still a question. By the beginning of 2022, will people feel better? I think there’s going to be a lot of caution. Going somewhere on a small trip versus going to a very crowded event is different. I know travel is picking up and people are starting to plan for summer vacations. But that’s different from being in a large setting, cheek to jaw, with other folks. So no big plans for the second half of 2021.

With all the benefits that digital-first events have to offer, in terms of scale and planning, why do you think the industry wasn’t doing more of it before?

[Virtual events] are not cheaper and it’s not easier, believe it or not. That’s the fallacy about digital. You have to make fantastic content because there’s a lot of competition for eyeballs because there are a lot of digital events happening. We were experimenting with live streaming previously so that you could register and watch online. It was just basically a straight video of whatever was being broadcasted in the keynotes. You didn’t have access to the individual sessions. A lot of people did watch it, but it was like one-size-fits-all. You can watch the 2-hour keynote, but you don’t have access to anything else. The content will be available afterward, but it wasn’t incredibly well-produced. People would come and watch a portion of the keynote, but it was much less appealing than what we do now.

Now that we’ve streamlined the process and have more tools available, what are your thoughts on the future of events overall?

This isn’t going away. People have realized even when this is over, that’s going to be a big part of how events are done. That said, I hope sometime we can be together. I do want to see people.

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Global green shoots: Where the media and advertising markets are around the world on the road to recovery

Life after the pandemic seems so close you can almost touch it. But just like the recovering covid patient living with long-lasting after effects, the economic recovery will be far from straightforward.

Digiday reporters took a (virtual) trip around the world to see how the post-covid economy is influencing advertising and media trends.

U.K.: Little England or Great Britain?

The end is in sight for the U.K. Vaccinations across the country are ticking along and the prospect of fewer coronavirus restrictions is lifting consumer confidence.

In anticipation, marketers, it would seem, have been carefully loosening the pursestrings since the turn of the year. In the three months to March, just over one in 10 marketers reported cuts to total marketing spend, marking a notable improvement on the final months of 2020 when a quarter of them admitted to tightening their belts, per the Institute of Practitioners in Advertising.

“It is a vital time to be running your activity based on analyzing behavioral biases, understanding exactly what encourages clicks, so that you are in line with the ever changing consumer preferences that has transformed more than ever before,” said John Barham, managing director at digital agency Roast

But for all the unfettered optimism over the pandemic recovery, it’s an outlook laced with caution. Thanks to Brexit, the U.K. is no longer the bridge to Europe. In turn, the pattern of imports and exports, once dominated by Western Europe, will shift. And that means marketers and the companies they pay will have to change attitudes and financial models so that they can tap into opportunities elsewhere in places in North and South America, the Middle East and Africa as well as across the Asia Pacific. — Seb Joseph

Spain and France: Light at the end of the tunnel

It’s been a rough start to the year for Spain. Even as fears of a fourth coronavirus wave settle, efforts to vaccinate the country are marred by delays and concerns over rare side effects. Understandably advertisers are wary.

“There was an 18% drop in ad spend in the first three months of the year where all media suffered except for digital,” said Ariane Längsfeld, head of knowledge at MediaCom Spain.

Still, there are some early green shoots of recovery.

The consumer confidence index (ICC), released at the end of April by the Sociological Research Center (CIS), rose 77.8 points, compared to 73 points the previous month, but still below February 2020 (85.7 points). Of the two sub-indices that make up the ICC, the current situation index went from 43.4 to 48.1 points, while the expectations index rose from 102.7 to 107.4 points. Despite not having recovered the level of confidence prior to the pandemic, these are the highest scores in the last year.

Like its nearest neighbor, France is coming to the end of its latest lockdown. By mid-June, restrictions should be eased, said Sandrine Reinert, the managing director for digital agency JellyFish’s French business. Unlike Spain, however, France’s ad recovery has been on a u-shaped one in so far as it’s been in slow decline, remained at the bottom for a protracted period of time before moving higher again.

“Recovery has been slower than expected,” said Thomas Jamet, CEO Mediabrands and UM France. “Based on our forecasts it looks like the first and second quarters will be questionable in terms of growth, while the latter two quarters will be excellent thanks to the level of money people have been able to preserve through lockdowns.”

Little wonder then why some agencies are already thinking about what the workplace of the future will look like. For the remainder of the year, employees JellyFish France, for instance, will be able to work from the office whenever they choose to.

“From there, however, we will have a hybrid model of 60% (three days) in the office and 40% (two days) at home,” said Reinert. — Seb Joseph

Sweden: Ever the exception

Lockdown really never existed for Sweden as the country’s government avoided mandating it. Nevertheless, marketers are understandably worried about the future. Look no further than how they buy media. Between this year and next, spending is projected to be flat, but from then it gradually dips, going from growth at 3.5 in 2023 to 3.0% in 2025, per eMarketer.

“People are dreaming about starting to travel again and summer is coming up, which is important for a cold country like Sweden,” said Emma Eriksson a former art director at the advertising agency Forsman & Bodenfors in Sweden. She was recently promoted to co-head of creative for the agency’s New York arm. — Kimeko McCoy

U.S.: Red hot recovery

Whatever way you look at it, all signs point to a good recovery in the U.S. GroupM expects the ad market to grow by 15% this year compared to 2020. Revenues from advertising are expected to rise 6.4% to $240 billion over the same period, per Magna Global, an ad-buying arm of Interpublic Group of Cos. Naturally, digital is driving this growth. In fact, digital will capture two thirds, or 67%, of total advertising revenue, according to Magna Global.

There could, however, be a sting in the tail — inflation. Consumer prices jumped 4.2% in the 12 months through to April, up from 2.6% in March and making it the biggest increase since September 2008.

Marketers will need to earn those immient price increases by buidling stronger brands, as Kellogg’s CEO Steven Cahillane told financial analysts recently: “We have to earn that price in the marketplace through investing in our brands, through innovating, through putting the types of performances that we’ve been able to put against our brands, which puts us in a good position to have the confidence to slightly raise our guidance even despite increased cost pressures that are quite real.” — Seb Joseph

China: ‘Healthy’

China’s ad market is “healthy,” said Brian Wieser, global president of business intelligence at media agency GroupM.

While the company expects reduced growth rates in other large markets in 2021, China is poised to grow 6.2%. Agency giant Dentsu said ad spend growth in the coming year for China will hit 5.3%, up from 1.6% in 2020. Spending in digital — particularly social media, e-commerce and video — leads the way. Emarketer predicts digital ad spending in China to continue double-digit growth, hitting 17.5% in 2021, with digital ad spending reaching the equivalent of around $105.58 billion.

Overall the country experienced a surge in consumer activity after major pandemic lockdowns lifted in the second half of 2020. “In China, we call it revenge spend,” said Tom Simpson, svp for the APAC region at mobile ad firm AdColony. Consumers “came out hard,” and advertisers followed by spending in channels such as digital and mobile advertising to meet them.

A trend to watch: the rise in video content and livestream content creation amid a proliferation of 5G connectivity and a desire for brands to generate more consumer data through engagement with branded entertainment.

“More and more brands are striking up deals [and] working with a variety of content creators to produce content on their behalf which speaks the language of consumers better,” said Michael Zhang, president of dentsu X China. “They are building out more and more ways to entertain, interact and ultimately convert consumers in their own ecosystems.” — Kate Kaye

Japan: Recovery in reverse

For Japan, this summer’s Olympic Games cannot come soon enough. On the other hand — in an ironic twist befitting the pandemic’s impact on Japan — the Tokyo Olympics’ July 23 kick-off may also come too soon.

Compared to other countries like China, Italy and the U.S., Japan was able to weather the worst of the pandemic early on. By May 2020, the country had suffered fewer than 800 coronavirus-related deaths. However, the pandemic had taken a toll on the country’s economy, which officially slumped into a recession. After the Summer Olympics were postponed in March, consumer sentiment sunk.

A year later, Japan’s economy appears to be on the road to recovery. The country’s economy still shrank by 4.8% over the course of 2020, after its gross domestic product plummeted by nearly 30% from the first to second quarter. But Japan recorded double-digit month-over-month increases in the third and fourth quarters.

While Japan’s economy seems to be on the way up, so are its coronavirus case numbers. That surge is threatening the economic recovery and shaking consumer sentiment to the point that Japan had the least optimistic population of 11 countries surveyed in February by McKinsey about their country’s economic recovery prospects, with only 12% of Japanese respondents saying they believe the country’s economy would rebound in the next two to three months.

As of May 11, more than 11,000 people in Japan had died from coronavirus. On May 7, the country had extended a state of emergency for Tokyo and three other areas until the end of the month. By the same day that the extension was announced, more than 230,000 people had signed an online petition calling for the Olympics to be canceled. As recently as May 12, the International Olympic Committee has continued to say that the Summer Games will take place as planned. But on that same day, Olympics sponsor Toyota said the brand was “conflicted” over the event being held given people’s concerns. — Tim Peterson

Australia: set for a rapid recovery

Closed borders, hotel quarantines, contact tracing, and “snap” lockdowns have helped limit the spread of Covid-19, and Australia largely has its coronavirus cases under control, with just 910 deaths total, according to data from the New York Times. (The U.S. has recorded almost 574,000 deaths.) As such, Australia’s media market started to come back in the fourth quarter last year.

“The recovery has continued into 2021,” Antony Ellis, managing director of Publicis Media Exchange said via email. “We have a cautious but optimistic outlook, and we expect the volume of media agency bookings to grow significantly.”

Digital and television ad spend have rebounded the quickest and remain strong, with television taking 41% of national ad spend in Australia and New Zealand as of December 2020, according to the Standard Media Index.

“Metro TV in particular and digital are our two strongest channels,” said Mark Henning, executive director of media, digital, and creative at Kantar Australia. “Video in general was also a big winner throughout the pandemic, and looks to be continuing.” Out-of-home advertising remains down 23% according to Publicis data.

The Westpac-Melbourne Institute’s Consumer Sentiment Index surged 57%, from 75.6 in April of last year to 118.8 in April 2021, thanks to low cases, positive news around the labor market and easing COVID-19 restrictions.
That optimism, paired with new consumer preferences, could be a sweet spot for advertisers. More than half of Australians have adopted new shopping behaviors, and 30% have tried a new brand in the pandemic, according to research by McKinsey. Australians also reported they intend to continue or increase their use of digital experiences. For example, grocery delivery usage increased 25%, with 50% of new users saying that they’ll keep using the service. — Erika Wheless

Brazil: Not out of the woods yet

COVID-19 has been responsible for one out of every three deaths in Brazil this year, according to Brazil’s National Civil Registry; less than 10% of the population is fully vaccinated, and the country continues to face supply challenges.

That dark stretch has been bad for Brazil’s economy on the whole, and the media and entertainment sectors in particular are still hurting. An analysis conducted by PwC found that media and entertainment contracted 6.5% in 2020 — the sector contracted 3% in 2009 — and recovery could take a while too. PwC expects that media and entertainment will not get back to their pre-pandemic size until 2022.

While pockets of the media space fared better — Ricardo Queiroz, a partner in TMT at PwC Brazil, pointed to streaming and OTT service growth as a bright spot — advertising, in particular, fared quite badly. Ad spending in 2020 shrank 15% compared to 2019, according to ZenithOptimedia, and growth the next few years is expected to be modest, between 6% and 8% the next few years.

Observers searching for reasons for optimism should look to e-commerce, which grew 75% in 2020, driven not just by regular shoppers, but by new consumers and businesses getting into the mix. Nearly 10% of the population bought something online for the first time last year, and more than 150,000 businesses in Brazil began selling things online for the first time.

If and how Brazil manages to dig out of the spot it’s in may hinge on the government’s appetite for spending to spur growth, not just among domestic players but from foreign investors. — Max Willens.

The post Global green shoots: Where the media and advertising markets are around the world on the road to recovery appeared first on Digiday.

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Friday, May 28, 2021

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Posted on May 23, 2021, Read More

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Cheat Sheet: How GARM and MRC work together on platform brand safety

Digital advertisers want reliable and trustworthy reporting from the big social media platforms to insulate their brands from harmful and unsavory content posted to their sites and apps. Right now, two large industry bodies — GARM and MRC — are working together and in parallel efforts to move the industry globally toward verified and standardized approaches for measuring against brand safety goals when it comes to advertising on social platforms.

Here’s an overview of who they are, why they’re working together and where they’re at in that slow-moving process.

Who is GARM and what’s its connection to brand safety on the platforms?

GARM stands for Global Alliance for Responsible Media. It’s a partnership among the social media platforms — YouTube, Facebook, Instagram, Twitter, TikTok, Snap and Pinterest — big global ad trade groups like Interactive Advertising Bureau and the 4As and brands from P&G and Unilever to Dell and Chanel. Formed in 2019 under the auspices of the World Federation of Advertisers, the goal of the organization is to address brand safety-related problems that emerge when advertising is adjacent to and financially supports, if indirectly, harmful content involving topics like violent imagery, child sexual exploitation, disinformation and hate speech or weapons and drugs. In April, GARM published its first report showing what’s happening according to brand safety measures across those platforms. For instance, the report — which showed more than 5.3 billion pieces of content were removed by the participating platforms during the year prior to publication — includes data based on two new measurements devised by GARM partners, Violative View Rate and Advertising Safety Error Rate.

Who is MRC?

Media Rating Council, or MRC, was created back in the early 1960s in the early days of broadcast TV. An industry-funded group with a lot of the same sorts of members as GARM, it has its roots in verifying media measurement metrics and processes from companies including independent measurement providers as well as digital platforms. Over time MRC’s verification has ranged from old-school Nielsen TV ratings to content-level brand safety processes for video ads as well as display ad impression metrics that have nothing to do with brand safety.

So, why does GARM want to work with MRC when it comes to brand safety?

Think of GARM and MRC as partners in a delicate diplomatic mission to gently encourage — and pressure with the force that only ad dollars can apply — the platforms into agreeing to outside oversight of their brand safety and transparency reporting.

First, a bit of background: Right now, the data that the platforms provide for GARM’s reports showing what’s happening according to brand safety measures across their sites is not verified by an independent entity. Instead, the platforms self-reported the information for that inaugural GARM report. And in the cases of some platforms such as Facebook, which already puts out its own content standards and enforcement reports, much of the same data provided to GARM actually comes from transparency reports companies already publish.

GARM wants that data supplied by the platforms for GARM reports to be verified by an independent organization. Because the MRC already oversees this sort of stuff, they’re the natural choice.

But GARM’s concerns are about more than data from the platforms, right?

Yep. GARM is pushing for all its platform partners to commit to three levels of brand safety audits:

Brand safety controls and operations: This audit level would assess whether there are sufficient internal controls and processes in place for measuring against brand safety guidelines.
Brand safety integrations with outside vendors: This audit would look at the processes that platforms have in place for areas like proper data transfer when integrating third-party ad measurement firms such as DoubleVerify, Moat or IAS
Brand safety transparency reporting: This audit level addresses the brand safety data supplied by the platforms used in GARM reports

It’s worth noting that MRC incorporates controls and operations as integral components of all its audits, brand safety and otherwise, while GARM considers the internal controls at platform firms to be separate brand safety audit components from the other two categories. So sometimes MRC and GARM use different terms for various aspects of audits which can add to the complexity of these issues.

So, where are the platforms at in this GARM-MRC process?

Most of the platforms participating in GARM have yet to agree to any outside audit of any GARM or MRC brand safety measures. But here’s where there is some movement as it relates to GARM:

Facebook: So far, no MRC brand safety auditing has been done at Facebook, although the company is the only one of the platforms that has agreed to MRC conducting an audit of it brand safety transparency reporting for GARM. Meanwhile, Facebook is preparing to start a separate audit for brand safety-related metrics with MRC in June.

And another process is underway as it relates to the more consumer- and media-facing Content Enforcement Standards Reports that Facebook already puts out. On May 19, Facebook said it had selected EY (Ernst & Young) to conduct an audit to validate its assessment of the metrics used for its self-published CESR reports. That matters because EY handles most of the audits of platform ad metrics that MRC oversees. Indeed, MRC actually hires other auditing firms including Deloitte and EY to conduct the nuts and bolts of its auditing.

YouTube: YouTube is also more engaged in the brand safety measurement process than other platforms, but has yet to commit to an audit of the brand safety transparency reporting it supplies for GARM. The company has, however, been accredited by MRC for Content Level YouTube Brand Safety Processes for Video Ad Serving through Google and YouTube ad systems. Last year the video platform began working on updating its brand safety processes to align with GARM’s standards.

In general, it’s a piecemeal process and these two platforms are at different stages and approaching it differently. Meanwhile, no other platforms have committed publicly to any form of independent verification for brand safety measures related to GARM or MRC.

So is anything else holding up the process?

General reluctance to participate in independently-led audits that require inspection of data processing and tech is a major obstacle for all the platforms. But bureaucracy could be slowing things down a bit, too. Until GARM’s reporting requirements are finalized and then incorporated into MRC’s brand safety standards and audits, MRC cannot begin any audits to verify data supplied by platforms for GARM reporting.

That has yet to happen according to the MRC.

The post Cheat Sheet: How GARM and MRC work together on platform brand safety appeared first on Digiday.

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Case Study: How a DTC chicken franchise’s ‘food porn’ strategy helped it use OnlyFans to reach customers

Sticky’s Finger Joint has always been in the business of keeping its customers pecking for more.

Since its founding in 2012, the NYC-based chicken franchise has made sure its menu items, from s’mores smothered french fries, to caramel and pretzel covered chicken, “push the envelope” in what’s acceptable for the food company, said Jon Sherman, CEO and co-founder of the brand.

Sherman spoke at Digiday U’s event on May 12 that explored how brands found enough success in experimental channels to make it part of their permanent strategies.

Sticky’s Finger Joint Mission: find new channels to reach fans

Why now?

In deciding where to take its social experiment, Sherman and the team came back to the concept that consumers enjoyed interacting with shots that looked like “food porn.” “People love to eat with their eyes,” he said.

A notable turn of phrase when it comes to the company’s social strategy — which the team expanded to experiment with OnlyFans, a subscription-based platform that usually dabbles in exclusive content for mature audiences only.

Sticky’s (correct), saw it as a way to promote new menu items and offer promotions to keep fans interested. “When you see something that looks over the top and delicious because that food porn nature has always been part of our social media strategy, we thought we could take it a step further. OnlyFans felt like the right platform to do that and engage the next level of die-hard fans,” Sherman said.

The company had already established channels, from Instagram (with over 50K fans) and Facebook, which the company sees as a “great way to reach people,” but weren’t pages considered “personable.”

“We really felt this was a really cool way that not only aligns with what we’ve been about but a way to reach a much more diehard fan base,” Sherman said. “We want a way to engage with them.”

Why OnlyFans?

The company’s small social team knew that it couldn’t be “great on every platform” and recognized that each channel deserved its own tone and voice. In thinking about experimenting, the team considered using TikTok and Clubhouse as experimental channels but thought there was a new space to carve out with OnlyFans.

“As we looked at the different platforms that are out there, we really felt like selecting OnlyFans aligned with our brand and wasn’t something that had been done,” Sherman said.

Findings

Sticky’s took to its Instagram page to tease its OnlyFans account — which has already netted in 100 followers on OnlyFans — where fans have already been offered special promotions and tip-offs that some menu items were making a comeback for a limited time. It is “behind the scenes access,” Sherman said.

Sherman pointed to the engagement the brand has had with consumers on the channel — even with the few pieces of content that have already been put on its page. And the fact that users were willing to make OnlyFans accounts to meet them there.

“We’re really excited to see if those sorts of diehard fans take advantage of the things we’re putting on there,” Sherman said.

While users could subscribe to the page for free, they can also leave a “tip” to unlock secret menu items, with all proceeds are going to ROAR, a relief fund benefitting restaurants affected by the Covid-19 pandemic. The company, so far, has kept the page as a brand marketing tool and a place to offer unique specials for customers there, rather than drive back traffic to its own website.

Where do you go from here?

Sherman teased that there will be more from the brand on OnlyFans in the coming weeks and months. The brand saw the private page as an opportunity to “raise money for a restaurant industry that needs help right now.” Tangentially, the company sees e-commerce potential. “We’re going to see where it goes,” Sherman said.

The brand plans on rolling out more videos on the page, from chicken-eating contests to others showcasing menu items, to keep fans engaged.

“We’re really just trying to try new things and push the envelope and see where it goes,” Sherman said. “We don’t know everything, we’re trying to learn.”

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Cheat Sheet: New ads legislation could boost data access for research — but create new risks for advertisers

Orestis Papakyriakopoulos is still waiting to tap into the 2020 political ad data he applied to receive from Facebook months ago. But while proposed legislation could give people like the Princeton University Ph.D. more streamlined access to data about advertising on platforms such as Facebook, YouTube and Twitter, it could expose advertisers’ campaign strategies.

The Social Media Disclosure and Transparency of Advertisements Act of 2021, sponsored by Rep. Lori Trahan of Massachusetts, a Democratic member of the House Consumer Protection and Commerce subcommittee, would require websites or mobile apps that sell ads and have more than 100 million monthly active users to grant academic researchers and the Federal Trade Commission access to ad libraries containing searchable, machine-readable data about the ads they serve — political or otherwise.

“A proposal to make more transparent how ads in general — not just political ads — are deployed in online platforms is a step forward and a big one,” said Papakyriakopoulos, who conducts research at Princeton’s Center for Information Technology Policy to help inform government policy addressing how digital technologies affect society. He would not comment on why he is still waiting for information he expects to receive from Facebook detailing political ads served on the site leading up to the 2020 U.S. presidential election. The company is making that information available to approved academic researchers through its Facebook Open Research and Transparency platform, or FORT.

Here’s what the Social Media Disclosure and Transparency of Advertisements Act would do:

It would require platforms to supply data about ads served on their sites, including a description of an ad’s targeted audience, the date and time the ad was first and last served, how much money an advertiser budgeted for ads, and how much they ultimately paid.
It would direct the FTC to hire two or three privacy and tech experts to lead a series of stakeholder engagements, public workshops and open comment periods to inform ad library best practices and a code of conduct for researchers with access to the data.
It would direct the FTC to make policy recommendations for Congress regarding what types of information firms should allow researchers to access.
It would direct the FTC to create guidance on penalties for researchers who misuse data.

Risks for advertisers

Many digital platforms are extremely protective of their intellectual property and trade secrets, while the companies that buy their ad inventory don’t want information about their campaigns or ad targeting revealed to competitors.

Even academic researchers that might benefit from the legislation recognize the potentially negative impact for advertisers. “If someone unscrupulous were to sell [that] data or share [it] with the public, companies that use platforms like Facebook and Google to reach consumers could lose their competitive edge, as their strategies would be revealed for all to see,” said Brian Britt, associate director of Data Analytics for the Public Opinion Lab at the University of Alabama, which uses data from platforms including Twitter and Reddit.

Advertisers themselves might be jealous of the data researchers could access if the bill were to pass. For instance, it calls for platforms to provide data showing audience interests and demographics such as age, gender, location, race and political affiliation, along with any other information that might have been collected via ad system algorithms, or “any other description of the targeted audience determined to be reasonable by the Commission.”

Already, advertisers that run campaigns on Facebook and Instagram have limited information about their own ad campaigns on the platforms, said Ty Martin, founder of Audience Kitchen, which helps advertisers uncover targetable audiences on Facebook and Instagram. For instance, he said there are gaps in data showing how those platforms build audiences that advertisers target.

“There are slightly different motivations in terms of why Facebook is not providing greater transparency in this area,” he said. Martin believes Facebook errs on the side of simplicity in its limits on data provided to advertisers about campaign exposure, how audience segments are determined and so on. For academics, however, platforms might limit data for other reasons, such as privacy concerns, according to Martin. “It’s probably just a lack of incentive; for every piece of data that gets exposed, there’s a risk,” he said.

Cambridge Analytica and the privacy ‘excuse‘

Indeed, data privacy is inherent in discussions around data access. Any legislation commanding greater data access must balance the desire to help researchers analyze how ad targeting on digital platforms affects elections and society with privacy considerations. In the wake of the Cambridge Analytica scandal, which involved the use of Facebook data scraped by academic researchers, Facebook is particularly sensitive to any potential for privacy breaches. An FTC settlement not only slapped a record-high fine of $5 billion on the company, but also required it to overhaul its data privacy compliance approach.

Papakyriakopoulos and other academic researchers reliant on data from social media platforms say the Cambridge Analytica affair had a drastic effect on their ability to access some of the data that is the lifeblood of their work. Papakyriakopoulos also said the scandal gives firms like Facebook a cover for turning off the data supply spigot. When digital and social media companies don’t provide detailed data, he told Digiday, “Privacy is the main argument that companies give in general, and this became more intense after Cambridge Analytica, and it makes sense because it was a privacy scandal. Cambridge Analytica is an excuse in a lot of cases.”

If the bill passes, said Britt, “It will be important for the FTC to keep anyone with access to these ad targeting data from misusing them for their own benefit. No one wants to see another Cambridge Analytica scandal, after all.”

The post Cheat Sheet: New ads legislation could boost data access for research — but create new risks for advertisers appeared first on Digiday.

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