The value of an audience is diminished if a company doesn’t understand it. It’s for this reason that real-time data insights play an important role in every part of a media company’s business, writes ROB BRADELY at CNN.
When did data become the zeitgeist of modern media? It’s hard to put your finger on any exact moment, but what’s beyond doubt is that the influence of data is here to stay and will only grow. To understand an audience, feed an algorithm or inform real-time bidding – data and insight have roles to play in every part of a media company’s business.
No more so than at a company like CNN. We’ve built up a huge digital audience at scale over the years, but the value of that audience is diminished if we can’t understand it, respond to our users’ behaviour and harness the insight for our advertisers. Sounds a mighty task, right? Well, it would be downright impossible if we didn’t have data insight.
Take, for instance, how data works in understanding and targeting an audience. Is it better to start with a large audience dataset then narrow in and optimise targeting or better to start with a tight dataset and broaden if delivery is hard or it’s underperforming?
Having worked with publisher data using several data management platforms for four years now, I’ve come to understand that this balance is vital to the success of a data-targeted campaign. Utilising the platform to create both broad and tight datasets to optimise dynamically against is key. Specific segments should be fluid because one set audience won’t always behave the same for every campaign. By using the real-time data insight and reporting back to the client, the marketing message can be tailored for best success during the campaign or the next.
The bad news for smaller publishers is that only large scale allows you to start big and tighten in segments to meet performance goals. Without the scale in the first place, where do you go to optimise? Some Western European and US media owners can utilise third party data, but other regions will struggle to find meaningful volume of accurate data, or indeed, any data at all.
Scale can be bought in other ways, of course – huge audiences are available to any advertiser happy to be cast adrift in an ocean of inventory. Even I can put money into Facebook to boost a post on a hobby page if I wanted to target a group of users by demographic or interest anywhere in the world. However, what about context, environment and a site’s natural audience harnessed over years of providing quality content? This means something before data even enters the room.
Programmatic trading struggled for credibility in its formative years, but as premium publishers entered the arena programmatic became a means to reach upscale audiences. With premium publishers also comes reassurance around ad fraud – we like humans seeing our ads not bots – and marketers could take heart that even without the data to back up the results, they broadly knew what type of upmarket users their message would be reaching.
We need to be wary of an over-reliance on data because a great creative solution in a relevant environment can succeed on its own, and we don’t want to risk creeping out a user by over-targeting them; but, overall, the positives far outweigh the negatives as long as we’re sensible. In fact, data-informed decisions about capping frequency of ads and re-targeting can enhance the user experience and make our audience less likely to want to install that pesky ad-blocker.
However, for me, the biggest opportunity for using data to its full potential is in the area of reporting. Not so long ago a tedious chore delegated to the most junior member of staff, data-rich reporting is enabling publishers to deliver true audience insight to clients. At a time when there’s so much competition for ad dollars, the onus is on the publisher to go beyond the click through rate.
There’s a whole range of complex metrics – viewability, engagement, dwell-time and audience behaviour before, during and after they visit our site – that we can use to tell an important story: what type of audience saw your ad, how did they react to it, what was their next step, and how we can better serve them in the future. Only then, can we as an industry truly say that we’re not just relying on scale, and that we really understand the opportunity of the data revolution.
* Rob Bradley is director of digital advertising revenue and data at CNN International
Welcome to world of 2099
The world of 2099 will be unrecognisable from the world of today, but it can be predicted, says one visionary. ARTHUR GOLDSTUCK met him in Singapore.
Futuristic structures tower over the landscape. Giant, alien-looking trees light up with dazzling colours amid the hundreds of plant species that grow up their trunks. Cosmetic stores sell their wares via public touch-screens, with products delivered instantly in drawers below the screens.
This is not a vision of the future. It is a sample of Singapore today. But it is also an inkling of the world we may all experience in the future.
Singapore was the venue, last week, of the World Cities Summit, where engineers, politicians, investors and visionaries rubbed shoulders as they talked about the strategies and policies that would enhance urban living in the future.
As part of the Summit, global payment technologies leader Mastercard hosted a small media briefing by one of Singapore’s leading thinkers about the future, Dr Damian Tan, managing director of Vickers Venture Partners. The company’s slogan “We invest in the extraordinary,” offers a small clue to Tan’s perspective.
“We look as far forward as 2099 because, as a venture capital firm, we invest in the long term,” he tells a group of journalists from Africa and the Middle East. “Companies explode in growth because there is value in the future. If there is no growth, they won’t explode.”
The big question that the Smart Cities Summit and Mastercard are trying to help answer is, what will cities look like in the year 2099? Tan can’t give an exact answer, but he offers a framework that helps one approach the question.
“If you want to look at 81 years into the future, and understand the change that will come, you need to double that amount and look into the past. That takes us to 1856. The difference between then and now is the difference you can expect between now and 2099.”
Click here or on the page link below to read on: Page 2: Soldiers and Health in 2099.
- Arthur Goldstuck is founder of World Wide Worx and editor-in-chief of Gadget.co.za. Follow him on Twitter on @art2gee and on YouTube
Street art goes electric
Kaspersky Lab and British street artist D*Face have unveiled the first-ever “art helmet” design at the Formula E finale for electric cars in New York.
The ‘Save The World’ helmets will be raced by DS Virgin Racing’s drivers, Sam Bird and Alex Lynn, as they traverse the New York street circuit during the final races of the Formula E season.
The announcement signals the first art helmet by a Formula E team, continuing the heritage of art in motorsport and the cybersecurity brand’s commitment to contemporary art, creativity and innovation. D*Face took inspiration from Kaspersky Lab’s tagline, “A Company To Save The World”, and hopes that his colourful work will inspire people to take positive action.
D*Face will announce his first-ever art car design with a custom-made livery for the DS Virgin Racing Team. Its design will be released at the “Art Goes Green” event after Saturday’s race. The helmets and art car are the latest installations in the “Save the World” collection, following a major permanent public mural that was installed in Brooklyn, New York, in May.
D*Face, whose real name is Dean Stockton, said: “It is exciting to work with Kaspersky Lab on this project and create art with a real message of hope for a better future. After all, this is our world and we need to look after it. It will take every one of us to make a real lasting, impactful change. I love the mentality of the DS Virgin Racing Team and that of Formula E by showcasing sport in a way that doesn’t harm the environment, but is still just as exhilarating and fun.
“It is time for us all to stand together and make a change… be that stopping data steals, climate change, plastic waste or using damaging fuels. I want everyone to make a pledge to do one thing that will help make a change.”
As a sponsor of DS Virgin Racing Team, Kaspersky Lab is responsible for protecting the team’s devices against cyber threats. The company sees the technical environment in the global sport of Formula E as the next frontier in furthering its research and development of new technologies to keep vehicles secure in the digital world.
Sylvain Filippi, Managing Director at DS Virgin Racing, said: “The whole team fully supports this great initiative and our thanks got to Kaspersky and D*Face for their collaboration. It’s an honour to have such an innovative artist bring his talents to bear in our team ahead of the season-finale; the car, drivers’ crash helmets and mural all look amazing.”
Aldo Fucelli Pessot del Bo, Head of Global Partnerships and Sponsorships at Kaspersky Lab added: “There is a need for innovation on a global scale, both in contemporary art and in the fast-growing sport of Formula E. Now, for the first time ever, Kaspersky Lab is proudly bringing together the two sectors in an effort to Save the World and unleash creativity, encourage freedom of expression and further innovation.”