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ielsen's upcoming total audience measurement tool—which the company shared exclusively with Adweek on Tuesday—will finally show networks and advertisers how their content is viewed across all platforms. But as the company works with top industry execs to evolve video measurement, Nielsen says its new data will also help buyers optimize their media plans.

In March, Nielsen acquired data management platform Exelate to help with programmatic buying

"We're able to bring all our data assets together in one place and create a respondent-level database," said Clarken. Advertisers can carve out segments for audience buying, which Exelate will pull together and then make real-time programmatic buys.

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.

Inside a giant tent at New York’s Lincoln Center in May, Phil Robertson strolls onstage. He’s wearing camouflage pants, wraparound sunglasses, and a solid-black long-sleeve shirt that accentuates his signature beard, which is off-white, unruly, and of ZZ Top proportions. Before him are a multitude of linen-draped tables, where media buyers from advertising companies sip wine, nibble on plantain chips, and listen to yet another pitch on how they should spend their clients’ budgets. This is advertising “upfront” season in New York, and Robertson, a cast member on A+E Networks’ runaway blockbuster reality program Duck Dynasty, is one of the stars of tonight’s show.

The final episode of the show’s third season, which aired on the A&E channel on April 24, was watched by 9.6 million viewers, according to Nielsen (NLSN), beating everything on both cable and broadcast television that night in the 18- to 49-year-old demographic, including the NBA playoffs and Fox’s American Idol.

Upfront season is a festive, testy time of year when every TV network (and, these days, a handful of businesses with large, online video operations such as YouTube (GOOG) and Yahoo! (YHOO)) throws a lavish self-congratulatory party, rolls out its programming lineup for the coming season, and tries to sell ad space in advance. This past season, the proliferation of choices for consumers took a major toll on the traditional broadcast networks, which collectively lost a sizable portion of their viewing audience. “The math says that broadcast erosion is throwing over a billion dollars up for grabs in this year’s upfront,” Berning tells the ad buyers. “If you’re tired of paying a failure tax, we have lots of successful programs for you to invest in.”

Some 35% of U.S. adults have software applications or “apps” on their phones, yet only 24% of adults use those apps. Many adults who have apps on their phones, particularly older adults, do not use them, and 11% of cell owners are not sure if their phone is equipped with apps.

Among cell phone owners, 29% have downloaded apps to their phone and 13% have paid to download apps.

“An apps culture is clearly emerging among some cell phone users, particularly men and young adults,” said Kristen Purcell, Associate Director for Research at the Pew Internet Project

Reach: Addressable ads are currently available in up to 42 million households through live TV and video-on-demand. The pool is expected to reach 50 million households by the end of this year.

Measurement: Nielsen is not the currency. Operators typically use Rentrak or Kantar Media for audience measurement.

How it works: Marketers pinpoint their target audiences and create a household profile using data such as income, ethnicity, children in the household and car leases set to expire. They then work with cable operators to determine the number of addressable-enabled households that fit their target and serve commercials to just those homes.

Category: Best Use of Social ($2 million - $4 million) Few marketers, especially beauty brands, have made it their mission to improve their consumers' self-esteem. That's what Unilever brand Dove has done, making inroads since 2004 with its "Campaign for Real Beauty." But a lot can change in a decade. "In 2004 women were fundamentally benchmarking themselves against the images in a magazine," says Cindy Gustafson, managing director of the invention studio at Mindshare. "And in 10 years there's been an incredible seismic shift because of the advent of social media and technology. The fact is this is where women are now taking their self-esteem cues from." Mindshare analyzed 18 million tweets and found that a third of them contained negative beauty or body image content, and women were 50 percent more likely to tweet negatively about themselves. Dove decided to change the conversation and partnered with Twitter for the #SpeakBeautiful campaign, which encouraged women to use social media as a tool for body and beauty in a positive way. Given the image-conscious nature of awards shows, Dove launched #SpeakBeautiful during the Oscars' Red Carpet and published tweets every 30 minutes. It also sent 800 personalized messages to women during the event, hoping to inspire them to send positive messages. The results were impressive: The campaign scored almost 6 million tweets, over 800 million social impressions and reached a unique audience of 13 million. Compared to the Oscars in 2014 there were 30 percent fewer negative tweets and 69 percent more positive tweets about self-beauty. It helped Dove's brand perception, too. Among people who engaged with the campaign, 27 percent had a higher intent to purchase Dove products, according to Nielsen; brand sentiment also increased 17 percent, according to Twitter. —Kristina Monllos

Category: Best International Campaign ($1 million - $5 million) No one can dispute the success or ubiquity of Coca-Cola's "Share a Coke" campaign, which substituted the iconic Coke logo with people's names in a bid to personalize their carbonated experience. But how to keep it bubbly? Coke and MediaCom U.K. planted the flag for Year 2 of the campaign in England, giving viewers of Channel 4's 4oD digital catch-up TV platform (now called All 4) a chance to see their own names on bottles—a potential reach of 11 million. Led by Chris Binns, managing partner and head of engineering, MediaCom U.K. latched onto 4oD subscribers' sign-in names to create personalized ads for each viewer, ending the messages with the tagline "Share a Coke With …" followed by the viewer's name on the bottle. In total, the effort generated 4 million dynamically generated, highly personalized TV ads. And 4oD subscribers carried the effort one step further, with many taking to Twitter to register their happiness at seeing their names on the small screen. ("How did the 4oD Coke advert know my name and put in on a can? I'm so confused and happy!" tweeted @remzitomlin.) The effort, says Binns, "delivered that moment to millions of consumers in their own homes, in a natural way while they were doing something they loved [watching TV], rather than … hoping that they would find their bottles on store shelves." Furthermore, campaign awareness in the U.K. rose 17 percent, while ad recall jumped 71 percent and purchase intent gained 24 percent. —Michael Bürgi

Category: Best International Campaign (less than $1 million) To give fashion fans a sneak peek at the Alexander Wang x clothing collection at the department store H&M, media agency UM turned to Twitter as "the key to unlock the mysterious box of Wang." The IPG shop aimed to show fashionistas around the world that its client had the most exclusive apparel from a leading designer, and it built buzz (while downplaying competitors' campaigns) by focusing on bloggers and social media influencers in the high-fashion vertical. First, the client created a literal box that appeared in London's St. Christopher's Place. Curious fans could only view the fashion-forward contents of the box by tweeting the campaign's hashtag, and H&M followed by sending both personalized tweets and images/videos of the Wang items in question to these aficionados. Using this strategy, UM was able to create significant hype around the collection's release, despite having a smaller budget than previous campaigns. UM creative director Marcia Siebers says the campaign was "a direct consequence of our unique relationship with H&M," adding that the live personalization "built anticipation for everyone who got involved" and delivered a unique experience to both those who visited the physical site and those who watched online with "the speed that our fashionista customers demand." The campaign led to a 32 percent increase in positive mentions among influencers when compared to the client's preceding launch. It also facilitated a 179 percent monthly bump in Twitter mentions, with 80 percent of users tweeting about the collection more than once. Most significantly, all six London H&M stores sold out of the collection within 24 hours. —Patrick Coffee