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Out of home (OOH) creative is great fun. The most creative minds come up with some great ads for OOH and the internet is full of wonderful examples.
I thought I’d bring you some of the latest, many of which I’ve found via Posterscope’s Twitter feed, which I recommend highly.
Enjoy these in all their boldness. You’ve really no excuse for not creating great copy and great concepts when this is your competition.
In this post, bear with me and you’ll get a couple of case studies and some best practice from brands using TV and promoted tweet tie-ups.
Before I give you the fun stuff, I want to say that best practice is all that matters. Ignore all the stats about engagement and sales uplift.
I don’t usually advocate ignoring stats, but as B2B marketing and service industries now pervade major cities of the developed world, we are awash with stats. And stats that claim to explain general concepts, such as generic increase in purchase intent after viewing a promoted tweet that references TV, are not helpful to you.
Yes, these stats succinctly explain the perceived benefits of advertising on Twitter, but like all data, it’s only that which directly pertains to your company that is of use.
There’s no point examining averaged trends when what you’re interested in is your business. Being blinded by amazing engagement stats will mean you don’t think properly about your campaigns. The last thing you want to do is drip out a poorly conceived set of promoted tweets and have faith they will deliver ROI.
The success of your marketing and advertising is dependent entirely upon detail; detail that’s way more granular than simply what channels you decide to advertise in.
I’ve possibly never had so much fun writing an Econsultancy blog post. For an hour or so yesterday, I was listening to ‘old’ in-game radio adverts from the Grand Theft Auto computer games, handily available here.
Whilst they are hilarious, in aping existing companies they also use many of the ad man’s techniques to sell a product.
I’ve tried to succinctly describe these techniques in this post. I hope you enjoy the fake product names and slogans as much as I did, and aren't put off by the some of the products' slightly poor taste. Thanks to GTA Wiki, where I grabbed the crazy product images.
There’s huge creative potential when brand advertisers and media owners choose to collaborate. It’s astonishing how scarcely it seems to happen, especially given just how memorable such collaborations have typically been.
Take the first episode of zombie thriller The Returned on Channel 4 earlier this year. The programme was aired in its original French, with English subtitles, a first for mainstream drama on television.
With a brilliant touch, the first commercial break was also in French with English subtitles, and included spots by French brands such as Renault, Boursin and L’Oreal.
Content is arguably the biggest trend to hit online marketing since the advent of social media, video and search.
Content is everywhere. And with content comes the opportunity for new, exciting, content based advertising models.
Enter native advertising. Find out what all content marketers need to know.
The makers of Candy Crush Saga and Puzzle & Dragons seem to have a winning formula that should be attractive to brands looking for a guarantee of success with games.
But is the creation of a successul game a science or an art?
My last post covering the mechanics that underpin programmatic media provoked some interesting questions.
In particular, the following comment...
“You know it when you see it”. This, of course, is the famous Potter Stewart quote from the Jacobelis vs Ohio court case (1964) which found the French film “The Lovers (Les Amants)” to be too obscene.
As the definition of native advertising continues to evolve this quote is incredibly fitting. But I’ll get to that later, let me first go back to the origins of this marketing tactic…
Is there anybody on the planet who actually enjoys pre-roll video advertising? Research has shown that 94% of people skip pre-roll ads, though I can't believe the number is that low (presumably the other 6% are masochists).
Pre-roll ads are as loathed as pop-ups, which studies found to be damaging to both advertiser and publisher. I imagine that the same applies to pre-rolls. Have you ever watched one and wanted to buy the product or service that's being (badly) pitched to you?
You have to wonder why they're so popular. Certainly the YouTube experience has considerably worsened since it started putting pre-rolls on a far wider range of ads, and I for one would pay a small fee to have them permanently removed.
Why do pre-roll ads suck so badly? Partly it's the interruption, which is often a lot longer than five seconds, and partly it's because the creative tends to be beyond stupid, but there are plenty of other reasons.
The following quotes and videos reflect all that is wrong with the pre-roll format. If you're the kind of person who likes to snuggle up to Satan by commissioning pre-rolls then you might want to take some notes.
Before we start, thanks for the feedback on my first instalment on programmatic media, this was much appreciated and forms a useful basis for this next piece.
This post covers the mechanisms that underpin programmatic, and attempts to portray the varying perspectives of those involved.
As familiar names like HMV and Blockbuster disappear from the High Street, web traffic can be expected to grow as a result.
However, the increasing numbers of data aggregators and tracking tags being placed on websites are leading to slower loading pages, while advances in technology designed to save people time have made us less tolerant of waiting.
In 2006, the average web user expected pages to load in four seconds or less. By 2010, that expectation had become two seconds or less.
As the number of ad technology vendors grow and their functions expand, companies continue to implement more and more tags on their websites.
This process takes place in stages and incorporates various departments in the organisation, often without a central role governing their organisation.
This can result in a slower, less efficient, and more vulnerable website. Over the past five years, the average number of elements per page has doubled from 50 to over 100.
In an increasingly complex online advertising environment driven by analytics, ad delivery and site optimisation, how well are companies managing the many scripts and cookies found across their websites?