ECUAdvertising

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.

Comprised of five agencies – Toyota's agency of record, Saatchi & Saatchi Los Angeles, plus Burrell Communications, Conill, InterTrend Communications and Zenith – Total Toyota unites the automaker's multicultural marketing initiatives under one umbrella. Toyota's Camry is the nation's best-selling car and the automaker claims Toyota is the No. 1 auto brand among Hispanics, African- and Asian-Americans.

A total of six spots will air over the course of the campaign, which also features print and radio elements, as well as some interactive and experiential programs designed to present the car to audiences that are much smaller and more specific than the mass viewership tuning in for Sunday night's game.

One includes sponsorship of the DramaFever Awards. DramaFever is a video-streaming site that specializes in international TV, including South Korean teenage dramas and Spanish-language telenovelas. In addition to sponsorship of the Awards themselves, Camry will sponsor a branded "Bold and Beautiful" award. Another planned facet of the campaign is a social media-oriented push in which a chef will visit restaurants and share recipes while getting fans to share their own.

TV's costliest shows this season are the ones that have a preponderance of live viewership.

On average, advertisers pay $627,300 for a 30-second spot in "Sunday Night Football," up about 6% from last season's cost.

It's a trend that's consistent with the last several years -- advertisers are willing to pay more for programming that's watched live as more viewership takes place on a delayed basis.

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Intel is holding a review for its creative business, Ad Age has learned. The move comes after Intel hired Steven Fund as its new chief marketing officer in May.

The review is being handled internally by Intel, and the marketer reached out to a small number of agencies, according to people familiar with the matter. Venables Bell & Partners has been handling the creative, and it's believed that the shop is participating in the review.

Venables was named lead global agency back in 2009. The marketer switched its agency approach for a couple years after that, moving to a jumpball setup. DDB handled some big campaigns during that time, though the shop does not currently work with Intel. Last summer, however, Venables became lead agency again, starting with the launch of Intel's "Look Inside" campaign.

As the US digital radio landscape matures, several trends are taking hold, including: Strong demand for two dominant listening modes: personal stations that serve songs based on users’ preferences, existing digital music collections and prior listening activity, and digital extensions of over-the-air stations A shift toward nondesktop devices, such as smartphones, tablets, in-car systems and other consumer electronics embedded with digital radio apps A mix of monetization models that ranges from free access on an ad-supported basis to premium tiers that cost up to $10 per month for ad-free, unlimited listening

Many companies that are marketing through digital radio use 15-second audio spots, some tailored to specific services. Advertisers are also creating branded playlists and sponsoring launch events, contests and festivals.

The full report, “Digital Radio: Usage Grows, but Lack of Scale Remains a Challenge,” also answers these key questions: How many people are using digital radio services, and how are they using them? What is the outlook for digital radio advertising? How are marketers using digital radio to promote their brands? How is competition affecting the digital radio landscape and potential marketing opportunities connected with it?

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

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.