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Tracy Tuten

Google Runs Offense on Bad Ads - 0 views

www.usatoday.com/...4513431

google advertising adwords regulations ethics

shared by Tracy Tuten on 22 Jan 14 - No Cached
  • Tracy Tuten on 22 Jan 14
     
    "SAN FRANCISCO - Google yanked 59% more "bad" advertisements from its online systems last year as the world's largest Internet search provider stepped up a battle against a barrage of counterfeiters, suspect downloads and other malicious activity on the Web. Google removed more than 350 million bad ads in 2013, up from about 220 million the year before. That's almost 1 million suspect ads a day. The increase was partly driven by the overall surge in online advertising, most of which is legitimate. But as Google introduces new products, scammers adapt and develop new ways to game the system. "It's a challenge," says Mike Hochberg, ads engineering director who oversees hundreds of engineers and policy experts focused on this at the company. "Google continues to add new types of ads and formats all the time, and that creates new work to track down new ways of creating bad ads." Google's online ad business has become so lucrative, generating billions of dollars a year in profit for itself and its partners, that the company's platforms, such as AdWords and AdSense, are a huge draw for what it calls "bad actors" looking to grab some of this money. In 2011, Google agreed to pay $500 million to settle allegations by the U.S. Department of Justice that ads for Canadian online pharmacies contributed to the illegal importation of prescription drugs. Last year, Mississippi Attorney General Jim Hood said Google was still allowing ads for illegal online pharmacies that sell dangerous or counterfeit drugs without a prescription. Google published a scorecard on its constant battle against such activity for the first time in early 2013, and the company is releasing the second report now. Hochberg says the reports and Google's increased efforts to limit bad ads and online scams were not related to the counterfeiting settlement. "Ensuring that we are serving good ads for users has been part of our ad programs from day one," he says. "Last year, we decided to put out a pseudo
Tracy Tuten

Data Points: Ad Scorecard | Adweek - 0 views

www.adweek.com/...ata-points-ad-scorecard-137788

Super Bowl advertising 2012 scorecard

shared by Tracy Tuten on 01 Feb 12 - Cached
  • Tracy Tuten on 01 Feb 12
     
    Ad Scorecard from Adweek - Super Bowl 2012
Tracy Tuten

Is This The World's Most Interactive Print Ad? - 1 views

mashable.com/...ost-interactive-print-ad-lexus

interactive print Lexus advertising QR video

shared by Tracy Tuten on 09 Oct 12 - Cached
  • A Lexus 2013 ES changes colors, turns on its headlights and exposes its interior as throbbing music plays in this highly interactive print ad in the Oct. 15 Sports Illustrated.
  • Using a Lexus-created technology called CinePrint, the ad comes to life only when you put an iPad behind the printed page that’s displaying the iPad edition of SI or on lexus.com/stunning.
  • As the release from Lexus notes, most traditionally “interactive” print ads direct users away from the page (think QR codes.) However, “CinePrint Technology flips that on its head, creating a tactile and visceral connection that brings one closer to the printed page with a multi-sensory experience that combines sight, sound, and touch.”
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  • Lexus and SI aren’t the only ones trying to make the printed page more interactive. This month SI sister publication Entertainment Weekly included a small cellphone inside its Oct. 5 edition to display live tweets the CW, an advertiser.
  • Tracy Tuten on 09 Oct 12
     
    Using a Lexus-created technology called CinePrint, the ad comes to life only when you put an iPad behind the printed page that's displaying the iPad edition of SI or on lexus.com/stunning. As the release from Lexus notes, most traditionally "interactive" print ads direct users away from the page (think QR codes.) However, "CinePrint Technology flips that on its head, creating a tactile and visceral connection that brings one closer to the printed page with a multi-sensory experience that combines sight, sound, and touch."
Tracy Tuten

The Martin Agency 2012 Student Workshop | Dr. Theresa B. Clarke - 0 views

theresabclarke.com/martin-agency-2012-workshop

ECUAdvertising

shared by Tracy Tuten on 25 Sep 12 - Cached
  • Students should email me for more information and the application — Allison Mays at allison.mays@martinagency.com or check out our Facebook page – martin agency student workshop.
  • Tracy Tuten on 25 Sep 12
     
    Email Allison Mays for an application allison.mays@martinagency.com
Tracy Tuten

The Spot: Krow's Elegant and Touching Commercial for DFS Sofas | Adweek - 0 views

www.adweek.com/...spot-sitting-pretty-143006

DFS Adweek campaign UK creative positioning meaning example video ECUAdvertising

shared by Tracy Tuten on 21 Aug 12 - No Cached
  • Tracy Tuten on 21 Aug 12
     
    Krow and DFS are trying something new: advertising that is actually-gasp!-likeable. A new 90-second brand film, set to an emotional song by a Scottish indie artist, tells the touching tale of a young boy who suffers through a typically tough day-finding respite only at the end of it, on a big, comfy DFS sofa. The approach isn't rocket science. "By aiming to become a brand that is well-liked as well as well-known," said Hastings, "DFS hopes to achieve more sustainable and even greater success among a broader range of people." Tim Nudd, August 21, 2012, Adweek.com
Tracy Tuten

M&M's to Unveil a New Speaking Role at Super Bowl - NYTimes.com - 0 views

www.nytimes.com/...eaking-role-at-super-bowl.html

mm smm campaign SuperBowl Credle aaw brown ECUadvertising

shared by Tracy Tuten on 18 Jan 12 - No Cached
  • Ms. Brown is the second female in the M&M’s cast, after Ms. Green, and like her colorful counterparts she will be imbued with a distinct personality. Ms. Brown is an intelligent woman with a sharp wit who finally decided to reveal herself after working for decades behind the scenes as “chief chocolate officer.”
  • Their devotion to the Super Bowl comes at no small cost. NBC is charging an average of $3.5 million for each 30 seconds of commercial time in the game, compared with an average of $3 million for each 30-second spot in Super Bowl XLV on Fox in February 2011. Even at that price, commercial time for Super Bowl XLVI has been sold out since Thanksgiving, NBC recently disclosed.
  • One way to ensure that a Super Bowl commercial is “not a splash, a flash in the pan,” Ms. Sandler said, is to make it the centerpiece of an elaborate campaign that takes place before, during and after the game. In fact, the spot will serve to “kick off a year of activity” to introduce Ms. Brown, she added.
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  • In a teaser effort that begins this week, Ms. Brown will arrive in social media, taking over the M&M’s fan page on Facebook, at facebook.com/mms, and sending messages on Twitter, where the character will have her own account with the handle @mmsbrown.
  • There will also be print, online and mobile ads as well as a deal to incorporate Ms. Brown into the radio program “Elvis Duran and the Morning Show,” syndicated by the Premiere Networks unit of Clear Channel Communications. Other elements include events in Los Angeles and New York, displays in stores, radio commercials and appearances for Ms. Brown during episodes of the new season of “The Celebrity Apprentice” on NBC, which begins on Feb. 12.
  • Tracy Tuten on 18 Jan 12
     
    M&M's has new character in cast!
Tracy Tuten

To Introduce Justin Bieber's Girlfriend Fragrance, a Social Media Campaign - NYTimes.com - 0 views

www.nytimes.com/...e-a-social-media-campaign.html

bieber campaign 2012 nytimes imc smm example media ECUadvertising Launch

shared by Tracy Tuten on 06 Jun 12 - No Cached
  • As befits a performer whose following is concentrated so much among young people, the campaign to promote Girlfriend, with a budget estimated at $20 million, is focusing on social media like Tumblr and Twitter. Mr. Bieber’s Twitter feed is followed by almost 22.9 million people, and he has close to 44 million “likes” on Facebook.
  • The new media aspects of the campaign will also touch on the ads appearing in traditional media. For instance, Mr. Bieber is going on Facebook and Viddy, a mobile video sharing service, this week to invite fans to enter a “sing-off” on Tumblr to help create a 60-second television commercial for Girlfriend.
  • The agency working on media planning for the Girlfriend campaign, Media Kitchen in New York, part of the Maxxcom Global Media division of MDC Partners, also handled those duties for the Someday campaign.
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  • Traditional media has a place in the campaign, Mr. Lowenthal noted, citing the commercial and print ads, photographed by Ben Watts, that will run in magazines like Cosmopolitan, Glamour, Seventeen and Teen Vogue. They can be amplified by new media outlets that are fueled by the fervor of “all the fans who want to get closer to Justin,” he added.
  • Tracy Tuten on 06 Jun 12
     
    Fragrance No. 2, called Justin Bieber's Girlfriend, is scheduled to arrive the week of June 18 at Macy's stores, and will also be available this month at retailers like Belk, Dillard's, Nordstrom and Sephora. Girlfriend will arrive a year after the introduction of the first scent endorsed by Mr. Bieber, Someday, which became the best-selling celebrity fragrance ever and the best-selling new women's fragrance of any kind brought out in 2011. As befits a performer whose following is concentrated so much among young people, the campaign to promote Girlfriend, with a budget estimated at $20 million, is focusing on social media like Tumblr and Twitter
Tracy Tuten

The Most Influential Women in Advertising | Special: 100 Most Influential Women in Adve... - 0 views

adage.com/...237265

advertising ECUAdvertising 2012 women

shared by Tracy Tuten on 24 Sep 12 - Cached
  • Tracy Tuten on 24 Sep 12
     
    Ad Age curated this list of the 100 Most Influential Women in Advertising. This intense research task drew upon numerous outside sources; our own pages and back issues; and Radcliffe College, where we combed the archives of the century-old Advertising Women of New York.We also tapped into the expertise of our beat reporters and requested nominations from readers online, which reaped some 400 responses.
Tracy Tuten

How Cluttered Is the Advertising Landscape, Really? [Timeline] - 0 views

blog.hubspot.com/advertising-landscape-timeline

landscape timeline infographic ECUAdvertising dq bb

shared by Tracy Tuten on 08 Jul 13 - Cached
  • Even before a major communication channel comes of age, it is immediately invaded with advertising. And so much media has proliferated in just the last 22 years that it’s mind-boggling to think about it taking us nearly 400 years to emerge from a print-dominated media landscape, and 48 more years to emerge from period of pre-digital platforms such as TV and radio, to finally arrive at the disproportionately short two-decade span where digital now dominates most advertising budgets.
  • From the moment printing became possible with the invention of the printing press way back in 1440, advertisers began plastering posters on walls and doors within their communities. The first poster ad in English is placed on church doors in London in 1492! Over the next 400 years, ads would find their way into newspapers, magazines, and other print media.
  • When you allocate that across the 2.4 billion internet-connected persons on the planet, it means there are 417 web pages and 2,502 display ads for each! It's simply bonkers to think pumping more interruptive ads into the internet is going to work. Want some more reasons why? Here, lemme tell you: In 1920, there was 1 radio station. In 2011, there were 14,700. In 1946, America had 12 broadcasting TV stations. In 2011, there were over 1,700. In 1998, the average consumer saw or heard 1 million marketing messages – almost 3,000 per day. It’s even more than that now. Just imagine how many Facebook posts or tweets you scroll past every day. Each of those are messages, and now, oftentimes ads. 
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  • Not only has the media landscape grown by type; each type has grown exponentially in volume. Nowadays there’s a magazine, TV channel, radio station, and a gajillion websites for every conceivable interest. And when we say “the internet” as an ad platform, that’s more than one trillion pages we’re talkin’ about. That's one thousand billions, which looks like this: 1,000,000,000,000. Now take that number and multiply it by 6, because that's how many display ads (only one type of ad) were shown across the internet in 2012, according to comScore.
  • Tracy Tuten on 08 Jul 13
     
    A look at the cluttered ad landscape in history
Tracy Tuten

Marketing's Next Five Years: How to Get From Here to There | News - Advertising Age - 0 views

adage.com/...237616

advertising Marketing adage 2012 predictions ECUAdvertising

shared by Tracy Tuten on 22 Oct 12 - No Cached
  • By 2017, 85% of the world will be covered by 3G mobile internet and half will have 4G coverage, according to Sony Ericsson. Three billion smartphone users will contribute to data traffic that's 15 times heavier than today's. For more and more consumers, the most important screen will be the tiny one in their pocket.
  • To put it bluntly, there needs to be more ad spending on mobile, which now comprises only about 1% of budgets, according to a recent study from the consultancy Marketing Evolution. Based on ROI analyses of smartphone penetration, that figure will be about 7%. In five years' time, that number will need to be in excess of 10%.
  • USER EXPERIENCE IS THE NEW 30-SECOND SPOT User-experience design is too often thought of as a digital-marketing task, ensuring that website and app development meet and ideally exceed usability standards.
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  • The proliferation of digital interfaces when we interact with brands offers a perfect metaphor for how the industry should be thinking about brands. Agencies of all stripes need to think about how they can integrate big-thinking experience designers into their creative and strategy offerings. Inspirations include startups such as Uber, whose brilliantly designed mobile app and fleet of friendly drivers, is taking the pain out of ordering and paying for car service in urban environments.
  • Experience Design practice uses nontraditional, interdisciplinary teams whose shape depend on the brand in question. "This hyper-bundled approach helps us disseminate experience design and other thinking throughout all kinds of projects."
  • A recent Association of National Advertisers study delivered a grim finding on how agencies get paid: "New methods of compensation like value-based remuneration that rewards performance have not taken hold globally. Only 4% [of respondents] reported utilizing them." That's a depressing stat. Now here's a ridiculous one from a 4A's study: Agencies bill mobile developers at a rate less than half what account-services directors receive. The compensation crisis has been on the industry's radar screen for years. The decline of the cushy, reliable 15% commission, coupled with the rise of procurement, has led to downward pressure on agency margins and widespread complaints about agencies losing their status as partners to become lowly vendors. Assuming we're not going to ditch the very flawed charging-for-time model, the fix is clear: a shift to performance-based compensation agreements that reward effectiveness and not time sheet completion. Underwear purveyor Jockey International and its ag
  • ency, TPN, offer an excellent model based on, as Jockey CMO-exec VP Dustin Cohn described it, "earned profits and payment on work output." Agency and client work together to determine the scope of work and metrics that determine the entire profit markup. Said Mr. Cohn: "Putting all of their profits on the line validates that the agency really believes in the client-brand and what they can do to move it forward." Steve Blamer, former big agency CEO and compensation consultant, said it's up to agencies to become honest about profit margins and income levels. "I'm astonished at how reluctant agencies are to provide transparency around their costs." At the same time, client marketers need to be willing to pony up for deserving work. And some are not.
  • Tracy Tuten on 22 Oct 12
     
    Imagine five years out. It won't hurt, we promise. Even the worst-case forecasts have our economic malaise nearing an end by then, a dreaded lost decade coming to a blessed conclusion and a true recovery taking shape with low unemployment and revitalized consumers. Once again the ad business will be growing. But a new media and marketing order will be taking hold. In measured-media terms, in 2016, the furthest year forecast by eMarketer, TV will still own the biggest piece of the marketing pie (36%), but just barely. Online advertising, at 31%, is sure to be hot on its heels. Further behind but growing fast will be mobile, whose share will have jumped from about 1% today to 5% as marketers chase a wholly mobile consumer reveling in constantly improving gadgets and services (see chart below). The rise of mobile, coupled with an evolving, more web-like TV market will present a vastly different communications landscape. Rising to the challenge will entail many changes in old processes, from compensation to measurement. Whether you're ready depends in part on what you do now.
Tracy Tuten

Letters of Note: I am a lousy copywriter - 0 views

www.lettersofnote.com/...i-am-lousy-copywriter.html

ogilvy ECUadvertising letter copywriting howto

shared by Tracy Tuten on 12 Mar 12 - Cached
  • On March 22nd you wrote to me asking for some notes on my work habits as a copywriter. They are appalling, as you are about to see: 1. I have never written an advertisement in the office. Too many interruptions. I do all my writing at home. 2. I spend a long time studying the precedents. I look at every advertisement which has appeared for competing products during the past 20 years. 3. I am helpless without research material—and the more "motivational" the better.
  • 4. I write out a definition of the problem and a statement of the purpose which I wish the campaign to achieve. Then I go no further until the statement and its principles have been accepted by the client. 5. Before actually writing the copy, I write down every concievable fact and selling idea. Then I get them organized and relate them to research and the copy platform. 6. Then I write the headline. As a matter of fact I try to write 20 alternative headlines for every advertisement. And I never select the final headline without asking the opinion of other people in the agency. In some cases I seek the help of the research department and get them to do a split-run on a battery of headlines.
  • 7. At this point I can no longer postpone the actual copy. So I go home and sit down at my desk. I find myself entirely without ideas. I get bad-tempered. If my wife comes into the room I growl at her. (This has gotten worse since I gave up smoking.) 8. I am terrified of producing a lousy advertisement. This causes me to throw away the first 20 attempts. 9. If all else fails, I drink half a bottle of rum and play a Handel oratorio on the gramophone. This generally produces an uncontrollable gush of copy. 10. The next morning I get up early and edit the gush. 11. Then I take the train to New York and my secretary types a draft. (I cannot type, which is very inconvenient.)
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  • 12. I am a lousy copywriter, but I am a good editor. So I go to work editing my own draft. After four or five editings, it looks good enough to show to the client. If the client changes the copy, I get angry—because I took a lot of trouble writing it, and what I wrote I wrote on purpose.
  • Tracy Tuten on 12 Mar 12
     
    British-born David Ogilvy was one of the original, and greatest, "ad men." In 1948, he started what would eventually be known as Ogilvy & Mather, the Manhattan-based advertising agency that has since been responsible for some of the world's most iconic ad campaigns, and in 1963 he even wrote Confessions of an Advertising Man, the best-selling book that is still to this day considered essential reading for all who enter the industry. Time magazine called him "the most sought-after wizard in today's advertising industry" in the early-'60s; his name, and that of his agency, have been mentioned more than once in Mad Men for good reason. With all that in mind, being able to learn of his routine when producing the very ads that made his name is an invaluable opportunity. The fascinating letter below, written by Ogilvy in 1955 to a Mr. Ray Calt, offers exactly that.
Tracy Tuten

Behind The Guardian's Re-Imagined 'Three Little Pigs' - Behind The Work - Creativity On... - 0 views

creativity-online.com/...233247

ECUadvertising film BBH 2012 plot development creative unit4

shared by Tracy Tuten on 14 Mar 12 - Cached
  • Tracy Tuten on 14 Mar 12
     
    Insight into the development of an ad
Tracy Tuten

'The Pitch' Gets Ad Agencies Into Reality TV - NYTimes.com - 0 views

www.nytimes.com/...-agencies-into-reality-tv.html

advertising BooneOakley McKinney ECUadvertising

shared by Tracy Tuten on 21 Mar 12 - Cached
  • Tracy Tuten on 21 Mar 12
     
    BooneOakley and McKinney are among the featured agencies in AMC's new reality show about The Pitch.
Tracy Tuten

Piers Fawkes: Should You Hire Staff Based On Their Klout Score? - PSFK - 1 views

www.psfk.com/...klout-resume.html

klout social influence chp4 chp5 social currency smm video cultural participation

shared by Tracy Tuten on 27 Aug 12 - No Cached
  • Tracy Tuten on 27 Aug 12
     
    Understanding Klout and the creativity of ad agencies
Tracy Tuten

Graft and craft: What makes a planner « canalside view - 0 views

martinweigel.org/...and-craft-what-makes-a-planner

ECUAdvertising account planning planners job description advertising

shared by Tracy Tuten on 03 Sep 12 - Cached
  • Planners should for example, be expected to be able to: Intelligently interrogate buyer data and apply it to the development of communication strategy Have a least a passing knowledge of some of the fundamental laws of markets and the dynamics of brands Decode tracking data and usefully apply it to the development of strategic recommendations Have point of view on how and when to use quantitative research – and be able to articulate to clients which companies to use and why Interrogate customer segmentation data Commission quantitative projects Write a research recruitment screener Design both qualitative and quantitative questionnaires Know the different the types of both qualitative and quantitative research available, their methodologies, uses, and the suppliers thereof Conduct their own qualitative research Bring to bear an informed understanding of how different kinds of communications work in different kinds of circumstances, for different kinds of brands, across different kinds of channels and touchpoints Develop effectiveness models for campaigns and activity Formulate recommendations on how to evaluate the effectiveness of communications Provide an informed perspective on the new and emergent models of effectiveness Understand the methodological differences between the principle copy-testing suppliers (know your enemy) Evaluate the commercial impact of communications activity Have an understanding of econometric modeling
  • Just to be clear – the planner is an advertising person. Planners work with research, but in advertising. Ultimately, they must be able to interrogate, synthesize and apply this information and insight to the development of creative work. And that does of course involve the application of intuition and imagination too. For as Stephen King wrote, “the whole process of advertising is not a safe, cautious, step-by-step build-up.”
  • The skills listed above are not acquired overnight. They take time to develop. And acquiring them can sometimes feel like a long and arduous journey. Sexy and cool it ain’t. The implications should be obvious: If you don’t have a boss who can teach you these craft skills, move on. If as an agency you’re not investing in the craft skills of your planners, you’re failing them. And if as a planner you’re not interested in acquiring the craft skills and find it all a bit tedious, you’re failing yourself. Worse, you’re in the way.
  • Tracy Tuten on 03 Sep 12
     
    list of the crafts ad planners must master - great read!
Tracy Tuten

How Volkswagen Conducted Its Canine Chorus | Special: Super Bowl - Advertising Age - 1 views

adage.com/...232268

Super Bowl advertising 2012 VW force bark side

shared by Tracy Tuten on 30 Jan 12 - Cached
  • Last week, Volkswagen and Deutsch, Los Angeles, unveiled a 60-second Super Bowl teaser on YouTube and then on broadcast TV during an episode of "The Middle" on ABC. The spot stars mutts barking a canine rendition of "The Imperial March," aka "Darth Vader's Theme," the track featured in last year's VW Super Bowl darling, "The Force."
  • The dozen dogs, selected from a pool of 40 who "auditioned," were chosen not for their vocal chops but, in some cases, for their resemblance to "Star Wars" characters, according to Tim Mahoney, chief product and marketing officer for Volkswagen of America. "See if you can find Chewbacca," he said, adding, "If you have a pet in the house, this ad drives them crazy."
  • The ad was directed by Keith Schofield of Caviar Content, who said the dogs were shot together and then separately on the set, barking to a temporary track created by Endless Noise's Jeff Elmassian, who was also behind the arrangement of John William's original Vader march for "The Force." Prior to production, "we talked about how this should probably be handled like a music video," said Deutsch Director of Integrated Content Vic Palumbo. "We needed to create the track first and then figure out who the dogs are, what notes they're going to be singing."
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  • The idea behind "The Bark Side" was to create an ad to promote an ad. "We were among a few brands last year who pre-released our Super Bowl ad, and the feeling was we were ahead of the pack," said Mark Hunter, chief creative officer for Deutsch, apparently with no pun intended. "So this year, it's what can we do to continue to set media trends."
  • One of the biggest challenges was the balancing act of using unaltered dog barks and digitally enhanced ones. The final mix featured a combination of both. "The human ear is discerning enough that even a lay person can tell when something is synthetic," said Mr. Elmassian. "You want a certain amount of barks to not be effected. Your ear will anchor onto enough of those and start to forgive some of the sounds that do border more on the effected side."
  • Tracy Tuten on 30 Jan 12
     
    Interesting look at what it took to produce the VW Bark Side teaser commercial
Tracy Tuten

How USA Today's Ad Meter Broke Super Bowl Advertising | Special: Super Bowl - Advertisi... - 0 views

adage.com/...232411

smm Super Bowl advertising USAToday admeter 2012 facebook

shared by Tracy Tuten on 30 Jan 12 - No Cached
  • The commercial also ushered in an era in Super Bowl advertising that we still inhabit: the ad as entertainment.
  • That we expect ads during the Super Bowl to be as entertaining as the game itself can largely be traced back to "1984."
  • In 1989, just a few years after "1984," the national newspaper introduced a revolutionary concept -- and a marketing masterstroke. Take a small panel of people, isolate them in a room with a meter and tell them to constantly turn a dial rating what they're seeing on a scale from one to 10.
  • ...10 more annotations...
  • Second, YouTube views and blog posts allow an ad to succeed or fail outside traditional media structures. VW's "The Force" has been viewed more than 90 million times since Super Bowl 2011.
  • "It better be something that rings some bells or gets measured on the USA Today Richter Scale," said TBWA/MediaArts Chairman Lee Clow. But the creator of "1984" also believes it means fewer ads like that one have been made. "It's a big challenge to spend $3 million on the time and then a million on the spot. It's kinda difficult to then come in 19th on the USA Today 'How'd you like our spot?' scale."
  • Even so, the poll's influence is waning. Today, most marketers combine immediate feedback with sophisticated research from Nielsen, GFK, Zeta Interactive, Kantar or Ace Metrix to understand the long-term impact of spots. Now that the real-time web has gone mass in the form of Facebook and Twitter, marketers and agencies have dozens of new services and dashboards to monitor, as well as the means to influence the discussion as it happens, not to mention giving the commentariat something else to write about.
  • With so much at stake, to please the clients and bolster their own resumes, directors started creating ads for the panel -- the media equivalent of teaching for the test. How do you get people to have an immediate, positive reaction to something they're seeing? Certainly don't show them a narrative. Make them laugh.
  • "If you go back 10 years, it was the only thing," said CMO Scott Keogh. "You didn't have social, YouTube views, you didn't have the blogs and all the running commentary. Basically, the press would report on the Ad Meter.
  • Even USA Today has lost faith in the ability of the panel alone to pick a winner. This year, in addition to selecting two panels of 150 in cities that USA Today won't reveal, the paper is opening up the voting to the public on Facebook. As a result, for the first time since 1989, USA Today won't declare a "winner" in Monday morning's paper. The true winner won't be declared until after the polls close Wednesday.
  • Why not dump the panel entirely? In social media, consumers will rate only the ads they love and hate, a spokesperson said. The panel is the only way USA Today sees to be sure every ad gets a vote.
  • "I'll have four screens going during the game in front of me, showing me charts and graphs," Mr. Ewanick said. "We have five or six other groups monitoring, then we'll have next-day research, copy testing, focus groups. There's a lot of money involved here. You have to really understand your ROI to make sure you learn from this, so you can apply that the next year."
  • When will we once again get more Super Bowl ads like "1984"? When creatives stop making spots to incite an instant reaction, sort of like Chrysler's two-minute "Imported From Detroit," a high-concept, big-idea spot that put Detroit before the car and even before the celebrity (Eminem). It was great creative, by most measures, and probably the closest thing to "1984" in its ambition since, well, "1984."
  • Predictably, "Imported From Detroit" bombed on the Ad Meter, coming in at No. 43.
  • Tracy Tuten on 30 Jan 12
     
    Social media are changing the way we will measure the success of Super Bowl advertising!
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