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This Week in TV News: New Fall Shows and Phoebe Waller-Bridge

This week we’re talking about an Amazon deal for new content from Phoebe Waller-Bridge, new fall TV that premiered this week, falling Emmy Awards viewership and more. 

It’s premiere week. Fall TV is in full swing, with “The Good Doctor,” “Grey’s Anatomy,” “Empire,” “This Is Us’ and “New Amsterdam” all airing episodes this week. Netflix made “The Politician,” starring Ben Platt, Gwyneth Paltrow and Jessica Lange, available to streamers today. Amazon released a one-episode, two-hour musical series finale of “Transparent,” with lead character Moira’s death as the focus. (Newsweek

Emmy viewership drops by a third. Emmy Awards viewership dropped to about 6.9 million viewers, down 32% from last year, according to Nielsen data shared by Fox. This is the first time less than 10 million people have tuned in. Last year, 10.2 million viewers tuned in for the Emmys, which were hosted by Colin Jost and Michael Che. (NBC News)

J. Lo and Shakira will play the halftime show at the Super Bowl. This February, the two pop stars will take the stage in Miami, Pepsi announced with Roc Nation. This is the first time the two singers will perform together, and it marks the NFL’s 100th anniversary. (Ad Age)

Phoebe Waller-Bridge gets Amazon deal. The writer and star of “Fleabag” won six Emmys for the show and signed an Amazon Studios deal for about $20 million per year, according to Variety. Waller-Bridge, also the writer and show-runner for the award-winning Killing Eve,”  will create and produce new shows available through Amazon Prime Video. In a statement, Waller-Bridge said working with the team on “Fleabag” was “the creative partnership dreams are made of.”

Read last week’s TV news.

Advanced TV Offers CPG Marketers the Precision and Scale They Require

Everyone can name a few consumer packaged goods that stir feelings of fierce loyalty: the chip they serve at every Super Bowl party, the laundry detergent that they swear works better than others, or the brand of soup they’ve been eating since childhood.

In recent years the CPG industry has been met with numerous challenges. Some, like the need to compete with two-hour shipping windows, are due to digital transformation, or the use of digital technology to solve problems. Changing consumer behavior is also presenting challenges to the CPG industry. With a recent study showing that more than half of consumers surveyed in the U.S. and UK had reduced the amount of disposable plastic they used in the previous year, a laundry detergent brand may find itself forced to rethink its packaging. Home products brand Seventh Generation, for instance, uses blends of recycled cardboard and newspaper to produce its laundry detergent bottle. 

Beyond sustainable materials, millennials are almost four times more likely than baby boomers to avoid buying products from “the big food companies,” according to McKinsey. Thanks in large part to health concerns, salt-laden soup may no longer be the lunch of choice. Add in the fact that new entrants are disrupting the traditional CPG-customer relationship, and it’s no wonder that 80% of leading CPG brand CEOs are concerned that their business model may be at risk.

In response, many CPG companies are rethinking their portfolios, tailoring new products with wellness and more-sustainable packaging in mind, and creating their own private labels. Others are investing in ways to drive innovation, including venture funds and incubators.

Alongside those other smart moves, they’re also rethinking their marketing strategy. Television, they may come to realize, can provide a solution to many challenges they’re facing.

Out-of-the-Box CPG Strategy

Despite loyalty from some consumers, CPG brands have long been plagued by high market saturation levels and low consumer switching costs. It’s easy to switch from one brand to another, depending on price or availability. 

This makes it vital for a brand to prioritize top-of-mind awareness, and data-driven TV advertising can be an instrumental part of that strategy.

Indexed linear television, for instance, can be used to identify those more likely to be in-market for a particular product. And today’s indexed TV applies modern data sets to TV marketing. By matching data such as purchasing habits or household income to viewing habits, a CPG brand can reach their target audiences efficiently with a relevant message. 

For a more targeted approach, addressable TV advertising allows brands not only to hone in on a receptive audience at a granular level, it also follows the customer journey, using purchase and behavioral data to target current buyers to increase market penetration, boost customer loyalty, identify purchasers of competing brands or products to promote switching, and tap lapsed purchasers to help bridge gaps in purchase history.

The assumption may be that addressable TV advertising is worth the investment only for industries and brands seeking specific customers for costly products or services – middle-aged women seeking to upgrade the family car, for example, or golfers planning their next resort vacation. Following that line of thinking, makers of mass-market items that almost everyone uses – tissues, soap, or sandwich bread – need only to cast the widest possible net and reach the largest audience to prosper.

Targeting a more specific audience at the household level, however, can minimize waste while retaining an effective level of reach. For instance, a CPG brand used addressable to shift share from a competing brand, resulting in a 21% increase in brand penetration. 

Both indexed TV campaigns and addressable TV campaigns offer valuable insights on what worked and what didn’t work with a campaign. For indexed linear, ACR data gives clarity on who watched and what they were exposed to. After an addressable campaign, incremental impact can be measured against a brand’s KPI.

Bottling the Power of TV  

Marc Pritchard, the chief brand officer of Procter & Gamble, a company whose products are used by some 5 billion people globally each day – and one that has been widely celebrated for the success of their mass marketing – told attendees at an ANA gathering that there was a pressing need to reinvent traditional modes of advertising. The ideal would be, he explained, “mass reach with one-to-one precision.”

Indexing and addressable TV advertising, two highly potent mediums, offer both precision and the scale CPG marketers require. 

Read more about our industry solutions.

This Week in TV News: Tinder’s Streaming Series and a Cheez-It and Pizza Hut Collab

This week we’re talking about a new choose-your-own-adventure video series premiering on Tinder, a collaboration between Pizza Hut and Cheez-It, and a proposal for new consumer privacy standards from the IAB Tech Lab. 

Tinder gets into original content. The dating app is releasing six episodes of a choose-your-own-adventure series next month. App users will be able to swipe left or right to advance the story, which takes place during an apocalypse. The director, Karena Evans, is behind hits like Drake’s “In My Feelings” and “Nice For What” music videos. (Variety)

Pizza Hut and Cheez-It release an iconic, cheesy collaboration. Who knew the pizza restaurant chain and the snack cracker would be a match made in snacker heaven? “The Stuffed Cheez-It Pizza,” available for a limited time and priced at $6.49, is basically a pizza pocket with a layer of Cheez-Its, shaped like a large Cheez-It. (Food and Wine)

IAB Tech Lab proposes new consumer privacy standards. “ Proposal for Enhanced Accountability,” the IAB Tech Lab’s new set of technical solutions and standards, aim at address concerns around privacy, data sharing, and security while “retaining the value of open standards, is to work towards enhanced accountability to consumer privacy across our industry.” Read more about the proposal on the IAB Tech Lab’s blog.

“Friends” turns 25. More than two decades later, the show (which leaves Netflix next year) is still popular and drawing new audiences to its story of a few twenty-somethings living in New York. The Hollywood Reporter ranked the show’s top 25 episodes in honor of its 25th birthday. 

Read last week’s TV news.

Advanced TV Marketing Strategies for QSR Success

There’s a lot at stake for quick serve restaurants. 

More than a third of Americans eating fast food every day. Annual revenue in the industry reaches $110 billion.

Today, QSR marketing campaigns have to attract the attention of potential diners wherever they’re consuming content, and that means brands have to use every channel at their disposal – from radio and print to television and digital.

Fernando Machado, Global CMO of Burger King, described the advertising landscape he navigates: “QSR is super-competitive, very promotional. If I’m not on-air on TV, my sales drop. Literally. And we know that immediately,” he explained. Still, he added, the brand knows younger audiences are watching less TV, and if you want to capture the hearts, minds and stomachs of the next generation, “you need to strengthen your presence in digital, and content creation.”

Supersize your marketing with data-driven TV

Because the potential customer base for QSR is so large, a wide-scale TV campaign aimed at increasing brand awareness makes sense in many cases, especially when you consider that visitors to the top-five QSRs in the country watch approximately 12 percent more television than the general population, according to a recent NinthDecimal study

TV can be part of an especially effective strategy when ads are paired with relevant programming (just like those crispy, hot fries taste better alongside an icy soda). Technology partners can identify consumers more likely to be in-market for a particular QSR by matching data on purchasing habits or household income to viewing habits. Someone who binge-watches a family-friendly show like “Modern Family,” for example, might be interested in a kids-meal promotion at a QSR, while a fan of an action-packed drama like “Vikings” might be more likely to go for a deal on a hefty burger. 

Furthermore, through aggregated national supply, QSR marketers can reach a national audience during a TV event like the Super Bowl or Oscars, even if they aren’t an official sponsor, by airing their creative through bundled local inventory.

Dig into digital

A television campaign with powerful creative, when used in conjunction with digital tactics, can help QSR marketers reach their audience at the right time with the right message. But it’s important to keep in mind that it’s not enough just to communicate timely offers or unveil new menu items.

QSRs with huge numbers of social media followers are finding new ways to engage and entertain. Look at Wendy’s Twitter account, which roasts not only its competitors but its customers (who actually request that honor). Burger King gave diners the opportunity to buy a Whopper for one cent if they stopped at a McDonald’s first in a geo-location stunt. Domino’s “Paving for Pizza” campaign involved the chain offering to pave potholed roads for customers so delivery people could get pizzas to them intact. (In its first week alone, the Domino’s campaign garnered 35,000 organic mentions on social media.) These creative, cross-platform strategies are vital to successful QSR marketing today.

An approach that incorporates channels where customers consume content, along with sequential messaging, can keep a brand top-of-mind, which is vital for QSRs seeking to win market share, especially given that repeat visits and incremental revenue are more important in the restaurant industry than in others. After all, people don’t buy cars every day, but they certainly need to eat on a daily basis. Whetting their appetites through their televisions and mobile devices is a reliable recipe for success.    

Learn more about Cadent’s industry solutions.

The Impact of an Earlier Oscars Ceremony on On-Demand Planning

Awards season buzz has a powerful impact on viewer interest in films, both at the box office and in the home. This year, studios will need to adapt their strategy to profit from this effect, as the Oscars—Hollywood’s biggest night—are being broadcast almost a month earlier than usual.

Why does this matter for on-demand planning?

Let’s break it down: The average time between theatrical and VOD release is about three months. Oscars timing usually aligns pretty well with award-contender films that want to capitalize on the theatrical window between Thanksgiving and Christmas, before releasing on-demand by late February – just in time for the Oscars telecast late February or early March.

This timing is important. Titles with awards buzz get a boost in on-demand transactions, but only within a certain window. The further a VOD release date is from the award ceremony, the lower the organic impact of the award buzz.

Cadent found that when a film is released on-demand the month of the award show rather than the month before, the ROAS dropped by 16%. That stat continues to plummet, dropping by 40% the month after the award show and 56% two months after.

We also looked at the correlation between studio investment and revenue. In the month before and the month of the award show (with the award show at the end of the month), studios saw strong returns with additional investment. In the month after the award show, however, that relationship weakens substantially. This shows that many studios probably underspent, banking on award show buzz that had petered out.

In short, this means that titles with awards buzz that are released on-demand after the award show need more support and a higher ad spend.

A well-planned VOD release is especially important for smaller independent films that don’t carry resounding box office success or wide audience buzz. (Think “The Favourite” versus “A Star Is Born”.)

Leading up to the award shows, these small films have a hearty buzz that can make up for low awareness coming out of a less successful theatrical window. This buzz can be harnessed for strong returns and performance surpassing similar low-awareness tiles without this buzz. Once the awards are handed out, however, these smaller films tend to fade into the background, especially if they don’t win any big-name trophies.

With this year’s Oscars ceremony falling at the beginning of February, there is a much smaller window in which a title, especially a smaller one, can ride the award season wave.

Let’s walk through an example: a film is released on Christmas Day and is nominated for an Academy Award. The film is not a wide-release box office hit, but is critically acclaimed and is getting a lot of awards buzz. Based on the average release schedule, it won’t be available on-demand until the end of February, two to three weeks after the Oscars ceremony. Based on Cadent’s findings, this film would see a 16-40% drop in return on ad spend. It would need a much larger spend to make up for the lapsed award show awareness.

Heading into fall and winter, there are some best practices to make the most of the short awards season. First, let the big budget box office hits run their own course. These films should have enough awareness and buzz without an award-show boost to perform well on-demand. Releasing them based on ideal holiday theatrical timing and adapting revenue goals based on their theatrical success is a smart strategy.  

Then, focus attention on smaller releases that will garner critical acclaim and nominations. Consider earlier releases for these titles, to time their on-demand release in January. This positions the titles that can benefit from awards buzz the most during the time when they can benefit from awards buzz the most. 

To get a better grasp on the impact the earlier Oscars ceremony could have on in-home entertainment and the movie-rental window, get in touch with us.

Read more about the variables that affect in-home rental revenue.

This Week in TV News: Customer Trust and Historic Emmy Nominations

This week we’re talking about Apple TV+’s premiere date, historic nominations for the Emmys, including a possibly record-breaking win for Julia Louis-Dreyfus, people’s feelings on personal data safety and three new S.N.L cast members.

Apple TV+ has a launch date. The streaming service will debut Nov. 1 at $4.99 per month and a free year sub for anyone who buys a new Apple device. At an Apple event, Tim Cook announced plans for the launch of several original shows. There’s no word yet on whether there will be licensed shows and movies, bundles, which devices it will stream to and more. Read other unresolved Apple TV+ questions on CNET

Salesforce CMO talks customer trust at Dmexco. In her Dmexco speech, Stephanie Buscemi outlined why consumers are wary. Almost 60% of consumers fear their personal data is vulnerable to hackers, and 54% think companies don’t operate with their customers’ best interests in mind. On the bright side, 91% of customers are likely to trust a company that’s transparent about how personal data is used. (Adweek)

Historic Emmy noms. To add some weight and drama to the awards show this year, a few nominated shows aired their final seasons, including “Game of Thrones” and “Veep.” If Julia Louis-Dreyfus wins a ninth award, she’ll break Cloris Leachman’s record for most overall acting wins. Other history-making nominations include Ted Danson, who’s been nominated for leading actor in a comedy series 13 times, capping off with this year’s nomination for “The Good Place.” Likewise, Peter Dinklage has made history playing Tyrion Lannister on GoT, with eight best supporting actor nominations for the character and the most nominations for a single performer in a drama, male or female. (Hollywood Reporter

S.N.L. adds three new cast members. “Saturday Night Live” is adding three new comedians to its lineup for its upcoming 45th season: Chloe Fineman, Shane Gillis and Bowen Yang. Yang, currently a writer on S.N.L., will be the show’s first Asian cast member. In August, Leslie Jones announced her exit from the show. (Variety)

Read last week’s TV news.

Congrats to Cadent’s Patricia Van Nostrand, a Cynopsis Top Woman in Media

We are excited to share that Patricia Van Nostrand, Vice President of Advanced TV Operations at Cadent, was named an Industry Leader in Cynopsis’ Top Women in Media list. 

This honor is given to women who have contributed to every area of the media industry and who are integral to moving their businesses forward and bringing fresh innovation to the field.

“She goes above and beyond. No is not a word – she figures out a way to make it happen. Patricia’s background is digital, and she took the time to understand how to bridge the gap between TV and digital and how clients can leverage analytics as TV evolves. She was also instrumental in merging the cultures together as one2one, Cadent Network and Cadent Technology came together as Cadent last year. She’s the backbone of our team, making sure we’re executing and considering how we can use data to make campaigns work harder.” – Jamie Power, COO of addressable & Head of Analytics, Cadent

Here’s a brief interview with Patricia on how she keeps up with the rapidly changing TV marketplace and works to support her team members.

How do you keep up with the changing TV industry?
Television is and will always be a balance of traditional and progressive tactics. For me, staying current begins with consistent engagement and collaboration with my peers from all areas of the television business. What’s important to me is communicating with our team on what’s happening and how those changes impact us as an organization. I devote extra time and attention to perspectives that aren’t consistent with my own to ensure I’m not missing something. We’re all seeking solutions to similar problems and our joint expertise often gets to the finish line quicker than our individual strides, so I started a monthly “advanced huddle” where all teams share recent updates, progress, challenges, etc. The goal is to increase cross-team collaboration, communication, education and overall team building. Part of remaining current in this business is staying grounded and staying focused.

What was your experience moving from digital to TV?
I was advised early in my career not to think of TV and digital as competing entities or “old vs new.” When I first came to television from digital, it was clear that TV could be much more data-driven, but I learned to understand the value they both bring, and I try to focus my time and energy on improving the discussions around each channel accordingly. It’s very easy to say TV should be more like digital in terms of targeting, the use of better data, and more precise measurement. It’s also important to remember that television remains an incredibly efficient and effective tool for many advertisers. The effort we all make to assemble the perfect mix of television and digital is among the most important elements of our business.

Talk about your management approach.
For me, management is comprised of two very critical components. There’s managing people, and there’s managing business goals, and I’m responsible for both. My approach is constantly asking and implementing how we can improve as a team using technology. Helping our people navigate this business, discover core strengths, and making them as productive as possible is very important to me. If a person enjoys what they do and feels like they are learning and challenged, it will reflect in their output. If the team is working in relative harmony, business tends to follow suit.

It’s also important to me to understand career paths my team wants to pursue and what makes them get excited about coming to work every day. I enjoy discussing what they want to do, asking things like, do you see yourself enjoying work more in the office or out of the office? Do you like entertaining people, do you like math and Excel? Do you like working in systems or do you like the art of storytelling? I love being able to get them to consider things they wouldn’t otherwise. If they haven’t given it thought, I want them to start now.

It’s fair to say you enjoy being a mentor.
Absolutely. I’ve had some excellent mentors in the past and still do. So, I take my relationships with my team and peers very seriously and I do my very best to guide them as best as I can. Continuously asking questions that encourage people to think about where people want to go with their careers is critical to our success as an organization– and you retain talent that way. One of the functions of my job that I enjoy the most is working with HR and our executive team for further corporate learning and development.

How have you navigated periods of uncertainty?
Communication is key. There are going to be times where we’re not quite sure what the outcome will be but continually managing expectations around the uncertainty lets people know it’s not black and white all the time. You have to enjoy the gray and navigating uncharted water.

In a previous role, I helped bridge the gap between product and sales, client services and research. I escalated any issues when necessary and with the feedback I received, I adapted and communicated. With every client initiative I was the stopgap that made sure the workflow was set up for success, identified potential obstacles and addressed as needed. Uncertainty is just another variation of a challenge and I welcome it.

What’s your approach to team culture?
Connection. Advertising is a people-based business and I aim to connect with the people in the office, our partners and vendors we can potentially work with. I make it a priority to understand who they are, what they do, and most importantly what they want to gain from their current role or position. It’s important to me to know who I work with and create connections with people. Some of my most valuable friendships today are colleagues, both present and past.

How do you help your team continue to grow?
I look for any opportunity I can to put them in front of the room and give them a platform to lead. I believe in cultivating growth, identifying their strengths and provide people with the ability achieve their goals and succeed in their roles.

I identify gaps, and I don’t always have to lead. Someone might ask me to be in a meeting, and I’ll refer them to someone on my team so I can elevate those around me. I don’t need to be the one in the room all the time. I want to give my team the opportunity to step up into new territory. It’s the only way we all grow.

See Cynopsis’ full list of Top Women in Media, and learn more about working at Cadent

Closing the Addressable TV Household Gap with SpotX and Cadent

Addressable advertising is growing, with industry experts saying it’ll hit $3.3 billion in spend next year. As the medium continues to go mainstream in the U.S. and UK, and more international markets such as Germany, Holland and Belgium begin to enable addressable inventory, Cadent and SpotX are ready to take our partnership to the next level.

We recently sat down to talk about how we’re working together to move the industry forward. Our partnership, which makes it easier for premium TV media sellers to monetize their data and inventory by integrating their market-leading SSP and addressable execution platforms, gives agencies and advertisers greater access to cross-platform addressable inventory via an optimized workflow.

Below, SpotX’s Allen Klosowski and Cadent’s Paul Ranger discuss why we came together to unify premium TV inventory and streamline processes to enable cross-platform buying and selling and optimize reach, frequency and efficient execution.

Allen: Our team at SpotX is thrilled to work with Cadent, the leading addressable TV platform, on developing a solution to create a simplified way for agencies and advertisers to access cross-platform addressable inventory on premium TV across the U.S. as well as markets in Europe. Let’s talk about the power of addressable TV advertising and how our partnership helps address challenges in the ecosystem.

Paul: Sure. To start, addressability truly marries the power of premium TV reach and attention with the targeting and measurability of digital, but even in more mature markets such as the U.S., planning and executing these campaigns is tough. Fragmentation and legacy technology systems pose many challenges, and as we both know, there’s a lot of work to do.

What Cadent and SpotX are focused on doing for the industry is enabling inventory owners to surface their addressable linear and time-shifted inventory from multiple platforms and making it available to the demand-side to transact programmatically.

Allen: Yes – and by bringing digital planning and execution capability to target campaigns across all forms of premium TV including set-top boxes, we make buying and executing addressable campaigns across multiple platforms far more efficient.

This is great for the buy-side as more and more advertisers make addressable a key element in their campaign planning. And it means we can now accurately track and measure the performance of more premium TV inventory against individual advertiser KPIs, and we can conduct much broader ROI analysis on premium TV buys. This means buyers should see greater value or at least be able to refine and optimize their planning based on real attribution data.

Paul: Seeing the return on investment is really key to buyers seeing the value of the medium. And from the sell-side perspective, we can drive inventory sell-through and overall yield across the board so revenues are higher. Sky in the UK is a great example of this – they’ve demonstrated how addressability attracts new advertisers who previously couldn’t use TV as it had a connotation of wastage. We also make it easier for them to create new ad products for advertisers.

This partnership took a lot of collaboration, and we’re very proud of that.

Allen: Absolutely. For SpotX, this collaboration strengthens our mission to deliver a cross-platform, “Total Video” approach to ad-serving, and in our perspective, it comes at a pivotal moment for the industry.

Paul: I agree. We’re at a turning point now where addressable TV advertising is becoming more mainstream. About three-quarters of U.S. TV households are now enabled for addressable ads, but only one-eighth of that inventory has been made available to buyers. There’s a lot of work to do, and more collaboration across the industry will be critical to the success of all.

Allen: And there’s a huge upside to cross-platform solutions such as the one offered by SpotX and Cadent, which enable all ecosystem players to capitalize on this unmet demand and drive some of the $17 billion (and growing) digital advertising spend to television.

Paul: Another key part of this partnership is what it does for subscriber data and user experience. Platform operators can monetize their data in a more GDPR-compliant process so subscriber data is protected, and experience-wise, subscribers will see more relevant ads, and ad loads will be contextually optimized.

Allen: Definitely. It’s a win/win for the industry. Advertisers see better results and higher ROI on their campaigns, while operators and programmers see the benefits of better advertising yields and more incremental revenues to support their businesses. And as marketers focus on reaching people in the moments that matter with relevant messages, they’ll continue to ramp up their addressable spending and experimentation in the months and years ahead.

The medium offers clear value over the data-blind constraints of traditional linear. For service and content providers to thrive during this paradigm-shift, they’ll need to prioritize new partnerships with technology companies that can keep pace with evolving advertiser demand, as well as the ever-increasing expectations from consumers.

Read more about Cadent’s tools for content monetization.

This Week in TV News: New Standards from the MRC and Heinz Creative

This week we’re talking about a design solution to ketchup bottle woes, the fall TV shows you will probably hear about and maybe watch, and new cross-screen measurement standards from the MRC.

The MRC’s cross-screen measurement standards. The Media Rating Council issued a final version of its provisions for measuring video advertising and content delivered through television, OTT and digital, both desktop and mobile. The standards “mark a consensus” across 175 companies have support from the ANA, 4A’s and IAB, per reporting from Adweek. MRC CEO George W. Ivie said the idea was to “make these measurements fair and on an apples-to-apples basis across all these video platforms” and that by “reining things in,” media buyers will get a better idea of campaign reach. (Adweek)

Tfw the ketchup won’t come out. Heinz Canada released new creative focused on that classic challenge of getting ketchup out of the bottle. A new “Pour Perfect” bottle shows an askew label when the glass ketchup bottle is set down. The label appears upright only when you pick the bottle up and hold it at the right angle for pouring. The project is from Rethink Canada. (Ad Age)

What will be big in fall TV. Vulture goes through upcoming TV shows, including offerings from Apple and Disney+, and gives its take on which shows will be biggest. Among them: a new Jen Aniston-led morning show series; a Netflix fantasy based on a video game called “The Witcher,” billed as the next “Game of Thrones”; and a Star Wars series from Disney+ called “The Mandalorian.” (Vulture

Why a TV critic cut the cord. Tim Goodman talks about his journey from cable to OTT services. He starts by identifying what he wants (“I definitely wanted live sports and the local network affiliates that carry them,” he says) and what he needed for sports viewing (he doesn’t care about ESPN, but needs the NBC Sports Network for Giants, A’s and Sharks games). Read his account on The Hollywood Reporter.

Read last week’s TV news.

We Focus on TV First So the Industry Can Win Together

Forrester’s Cross-Channel Video Advertising Platform New Wave report was published today, including an evaluation of Cadent Advanced TV Platform.

This report evaluated the cross-channel video landscape, and in our opinion, it focuses on digital companies broaching the world of TV. Cadent, a pure-play TV platform and not a cross-channel platform, chose to participate because it’s important to take part in the conversation on both sides of the equation about how these worlds are coming together. 

There’s much more to the advanced TV ecosystem than mastering addressable and modernizing linear TV – our platform ties the entire TV ecosystem together into a single solution that streamlines the process of buying and selling of television.

What’s important for a strong product vision is what you choose to focus on and what you don’t choose to focus on. We chose to focus on providing national advertisers episodic, professionally produced video content that offers premium content with advertising considered part of the programming, and we chose not to focus on short-form digital video and social ads. That way, advertisers can maintain quality and impact when reaching their TV audiences in a brand safe manner, delivering a message in the moments people are most immersed in content. 

Today, television is complex – a combination of legacy systems and constantly modernizing technology. In light of this complexity and the challenges of audience fragmentation, we choose to focus on the evolution of TV, always keeping in mind what’s in the best interest of the whole TV ecosystem, including buyers and sellers. Digital companies approaching the business of TV with digital solutions, which as we know, in addition to trying to connect TV into their workflows, also aim to optimize banner ads, mobile apps, social feeds and more. A cross-channel TV strategy requires a thoughtful TV partner and not a retrofitted digital approach.  

The reality is that today, traditional TV is still bought mostly the same way it was 20 years ago. In ten years, there will still be cable boxes and linear TV viewers, even as TV audiences evolve. The platform advertisers need is one that brings those experiences together, from linear TV to addressable and OTT, making it different from a traditionally digital-first DSP platform. Our platform prioritizes integrations and quality engagement that drives performance, builds brands and creates experiences. 

Television is evolving. Its evolution won’t come from the aim of being more like digital – its evolution will come from the desire to bring the best of television and the best of digital together to become better, more automated and more transparent. Engaging audiences in a premium environment is key, as is making it easier to transact and easier for marketers to measure the impact of their campaigns. We focus our innovation only on the needs of the television industry, and we think that’s the best way to help the industry win together. 

In TV buying, it’s our responsibility to protect consumer data and work with partners who protect consumer data. We’re focusing on building an environment where a wide variety of scaled and targeted audiences can be activated, where the value of partners’ respective businesses and the value and needs of advertisers are brought together to help them navigate TV advertising from traditional to advanced buys, across all inventory channels.

For our customers, we want to make it easy to leverage our technology and connect with their audiences in a highly fragmented landscape. We’re entering a data-driven, technology-rich future of TV advertising, and more than ever before, audiences, inventory partners and ecosystem partners require a thoughtful strategy that drives real business results. 

Read more about Cadent Advanced TV Platform.