Sony Pixel Power calrec Sony

Don't miss an opportunity: Why data is the key to creativity

17/01/2019

By Marlene Grimm, analytics manager at TVSquared

Contributor Nov 1, 2018

By Marlene Grimm, analytics manager at TVSquared

target=_blank title=Share on LinkedIn class=share-linkedin> By Marlene Grimm, analytics manager at TVSquared

https://www.tvbeurope.com/features/dont-miss-an-opportunity-why-data-is-the-key-to-creativity title=Share via Email class=share-email>

Creative content is the backbone of TV. Responsible for programmes that span generations, think Friends and Doctor Who, shows that prompt huge social media responses like Breaking Bad and Game of Thrones, as well as reality phenomena such as The Great British Bake Off and Love Island - creativity drives success.

When it comes to advertising, the same still applies - with iconic ads such as Nestle's Milkybar Kid, Diet Coke's 11:30 Break, Guinness' Surfer, and Cadbury's Gorilla - and let's not forget John Lewis' many Christmas offerings. Splashing the cash on creative production is a formula that works for TV. From £11.5 million an episode for Game of Thrones to £10 million for The Crown, broadcasters have always relied on large production budgets for their TV offerings.

Heavy investment in creative production has long proved to be a winning strategy as content that invokes an emotive response is more likely to attract viewers and resonate with them, resulting in a hit show. And brands follow broadcasters' lead by splurging on their TV campaigns in an attempt to bring the creativity of TV shows to their advertising. In fact, John Lewis spent approx £1 million shooting each of its iconic Christmas commercials and a budget of £2 million was set aside to produce one 90-second ad for the Sony Bravia Paint commercial.

But the question looms, how sustainable is this big-budget creative production in an increasingly digital world?

TV ad campaigns are more measurable than ever before, with many brands already using same-day audience response data such as search activity, web traffic, and app installs, to determine which regions, genres, channels, days, day parts, and spots are most effective at driving engagement. They are then using these insights to make in-flight changes to campaigns, ensuring the maximum return on their TV spend.

But while optimising TV spots is vital, advertisers also need to consider the creative content of their ads to ensure they are captivating audiences and maximising campaign performance.

Brands are already attempting to test the emotional resonance of their TV creatives rather than rely on the traditional gut-instinct method, but their approaches are still in their infancy. Post-campaign analysis is one of the more common techniques, but this doesn't allow for in-flight optimisation and, with creative only one element considered, is far from accurate.

Other advertisers are utilising input from online surveys or focus groups to improve the effectiveness of their TV ad creatives, but this technique only measures intent, rather than determining real-world response. Finally, some brands are running their TV creatives as YouTube ads, and using data such as skip rates and click-through rates to assess performance - but these metrics only reveal the reaction of the proxy YouTube audience, not the actual TV audience.

To accurately measure the resonance of TV creatives, brands can compare real-world audience response to various creative iterations. They don't need to create multiple TV ads but can simply change individual elements of one creative while maintaining a consistent brand message. Ranging from minor modifications such as music or voiceovers, to more significant changes such as character or script variations, these alterations can even be made in post-production. Brands can then utilise the same granular audience response data used to optimise TV spots to test their multiple creative iterations, identifying the elements that are most engaging and making real-time changes to dynamically optimise performance.

As a global brand, Delivery Hero faces cross-regional challenges as the company expands its creative testing activities. The duration of ads differ across countries and response varies even more. By setting up a testing process that provides an understanding of duration and creative for each region - rather than comparing cross-country, as the media landscapes are so varied - the optimal mix can be put into action for each region. For example, the data shows three-second spots in Egypt have much higher direct response rates, but in reality 15-second spots may contain the most impactful creative that provides an emotional connection to the brand. When it comes to in-flight changes, Delivery Hero has traditionally made revisions during production, with testing taking place early in the creative process. However, more recently the German team trialled call-to-action updates in-flight which produced an immediate uptick in performance.

Advertisers don't need to decide on one ultimate TV ad creative, they can and should have the insight to determine which creative elements are most effective for their brand KPIs - allowing marketers to increase or reallocate budget as needed. The emotional response evoked by ad content varies greatly by gender, age, interests, ethnicity and economic status and, with audience-level TV attribution revealing which segments are responding most strongly to individual creative variations, this type of testing and optimisation allows brands to run the most appealing and effective creative for specific TV audiences.

Big production budgets are certainly one way to ensure the emotional impact of creative content, and this model works well across the TV industry, but brands don't necessarily need to splash the cash to produce ads that evoke a strong audience response. By testing multiple creatives on real-world TV
LINK: https://www.tvbeurope.com/features/dont-miss-an-opportunity-why-data-i...
See more stories from tvb

More from TVB Europe

28/03/2024

The 4K cameras giving audiences an astronaut's view of Earth

TVBEurope meets Charles Black, founder and CEO of Sen, which has sent a payload of 4K cameras to the ISS to livestream images of Earth to audiences around the w...

27/03/2024

I knew there were cameras, lighting, some buttons and microphones involved': How Crew Room Academy is inspiring the next generation

TVBEurope hears from some of the students who took part in Crew Room Academys Sc...

27/03/2024

Adobe reveals Gen AI solutions for content supply chain

Elsewhere, Adobe revealed a new feature in Adobe Firefly, which uses the companys generative AI to easily apply the structure of an existing image to newly gene...

27/03/2024

Best of Show Awards for 2024 NAB Show entries close soon

The awards, from industry-leading brands of Future plc, provide a great opportunity for companies to stand out at one the most attended shows in the industry B...

27/03/2024

Meet the director of IT and operations

By TVBEurope Staff Published: March 27, 2024 Updated: March 28, 2024 CueScript's director of IT and operations, Meghan Tyler, tells TVBEurope about h...

26/03/2024

Crown Works Studios moves forward following council approval

The studios are expected to be one of the largest in Europe, with 20 premium sound stages suitable for major feature film and high-end TV (HETV) productions By...

25/03/2024

Blackbird adds indexing and AI auto sequencing to video editing platform

Twelve Labs AI will enable editors to locate specific storytelling moments within their video content using natural language, said the companies By Jenny Pries...

25/03/2024

Meet the director of strategic marketing

By TVBEurope Staff Published: March 25, 2024 Updated: March 26, 2024 Bruno Fran on, director of strategic marketing at Backlight, talks to TVBEurope abou...

22/03/2024

Grass Valley secures $220 million in strategic refinancing

The company said it intends to accelerate innovation across its entire portfolio, most notably in the AMPP ecosystem following the refinancing By Jenny Priestl...

21/03/2024

Creating a fully managed live sports streaming service

As the way that viewers watch sport continues to evolve, broadcasters and streaming services must keep a finger on the pulse of the market and adapt their offer...

21/03/2024

Planetcast brings OTT in house with Switch Media acquisition

The acquisition transfers full control of Switch Medias assets to Planetcast, enabling integration of their online video solutions with Planetcasts NexC unified...

20/03/2024

Slow Horses, The Long Shadow lead BAFTA Craft Awards

Other Craft Award nominees include The Crown, Silo, The Coronation Concert and Eurovision By Jenny Priestley Published: March 20, 2024 Other Craft Award n...

20/03/2024

Shepperton Studios expansion opens for business

The Surrey facility adds a further 17 sound stages (taking its total to 31) as well as two new backlots By Matthew Corrigan Published: March 20, 2024 Updat...

19/03/2024

How Freelens TV puts science centre-stage for its latest game show

Take Off is a game show where science and innovation meet competition. With 12 contestants pitted against one another in a series of challenges, culminating in ...

19/03/2024

The new name reflects the ambition we've had since the very beginning': Newsbridge rebrands as Moments Lab

The company says its goal is to help media, sports, and entertainment companies ...

18/03/2024

Logging and reviewing: Moving towards a sustainable workflow

Jane Sung, COO at Cinedeck, explains how broadcasters and content production companies can achieve the goal of moving towards creating a more sustainable, effic...

18/03/2024

Altice Media sold to French shipping tycoon for 1.55 billion

The deal includes BFM TV, one of the country's largest 24-hour news channels, as well as documentary channel RMC D couverte, and RMC Story By Jenny Priestl...

18/03/2024

Meet the CEO and founder

By TVBEurope Staff Published: March 18, 2024 Updated: March 19, 2024 Nick Franco tells TVBEurope how he went from being a master plasterer and refurbishi...

15/03/2024

Meet the director of channel development

By TVBEurope Staff Published: March 15, 2024 Updated: March 18, 2024 Jenny Isaksson, director channel development at Vizrt, tells TVBEurope why she enjoy...

14/03/2024

Spilling the tea: The challenges of live music for television

Ciaran Doran reports on a recent RTS Technology Centre event that heard about the challenge of getting sound on live TV events just right, including dealing wit...

14/03/2024

Case study: How post production house Blazing Griffin keeps complex file movement simple

Blazing Griffins technical operations manager Paul Martin explains how the compa...

14/03/2024

Meet the TPN ambassador

By TVBEurope Staff Published: March 14, 2024 Updated: March 15, 2024 Stephen Stewart, former network director at Channel 4, tells TVBEurope about his cur...

13/03/2024

Brightcove adds web-based video editing capabilities to streaming technology platform

The update enables users to repurpose existing video content by editing recordin...

13/03/2024

Water, water everywhere

Vine FX blends practical and CGI elements for ITVs After the Flood, crafting immersive world-building crucial to the post-disaster thrillers authenticity, write...

11/03/2024

Opinion: Making space for inclusion and diversity

Radical Moves River Williams looks at how the broadcast industry can become more inclusive and representative in order to benefit the professionals working with...

11/03/2024

What will the broadcast tech ecosystem look like in the next 5-10 years?

TVBEurope editor Jenny Priestley meets Grass Valley president and COO Jon Wilson to discuss everything from the power of the cloud, AI adoption and this years s...

08/03/2024

Anna Valley enters administration

Anna Valley has been working in the AV sector for over three decades, with roots in the supply of cameras and display technology to the broadcast sector By Jen...

08/03/2024

#IWD2024: Meet media technology's inspiring women

To mark International Womens Day 2024, TVBEurope is delighted to showcase some of the inspiring women currently working in the media technology industry By Jen...

07/03/2024

World VFX Day and UpliftHER partner on IWD activities

The speakers will discuss why there are so few women in senior roles, juggling parenthood with a career, LGBTQ+ representation and inclusion, financial literacy...

07/03/2024

Nikon to acquire camera manufacturer RED

Nikon said the deal promises an exciting future of product development that will continue to push the boundaries of what is possible in film and video productio...

07/03/2024

If you can see it, you can be it': How the media technology industry can take action to inspire more women to join

In the second of TVBEuropes series of articles celebrating International Womens ...

07/03/2024

More action, please!

R is n McKeniry, head of technology, Gravity Media, explains why the media industry needs to change its mindset in the way it works, and utilise technology to i...

06/03/2024

UK VFX industry welcomes Budget tax relief

According to UK Screen Alliance estimates, the tax relief changes are likely to stimulate an additional £175 million of VFX work to be performed in the UK By J...

06/03/2024

How modern day tech created an age-old monster for Godzilla Minus One

Godzilla Minus One director Takashi Yamazaki explains how Maxons ZBrush helped create the look of the iconic monsters latest big screen outing By Jenny Priestl...

05/03/2024

Screen Scotland sets out six year plan to grow TV and film sectors

The strategy aims to increase the screen sector gross value added (GVA) impact to £1 billion within the Scottish economy by 2030/31 By Jenny Priestley Publis...

05/03/2024

Making a splash

The producers of thriller No Way Up tell Robert Shepherd how they created visually stunning scenes set in the Pacific Ocean, from Basildon and Maidenhead By Co...

05/03/2024

Canal+ ups Multichoice bid by $1 billion, companies agree to enter talks

Both sides said they intend to co-operate and MultiChoice will give exclusivity undertakings to Canal By Jenny Priestley Published: March 5, 2024 Both si...

05/03/2024

IWD 2024: How media tech companies are inspiring inclusion

Ahead of International Womens Day, TVBEurope is publishing a series of special articles around this years theme of Inspiring Inclusion. We start with a look at ...

04/03/2024

Navigating cloud solutions and IP workflows in the evolving European media landscape

The cloud and IP workflows are not just about technology upgrades; theyre strate...

04/03/2024

How rehoused Soviet-era glass and 1980s Moviecams captured Dune 2

Cinematographer Greig Fraser discusses some of the innovative technology used on Dune 2 By Jenny Priestley Published: March 4, 2024 Updated: March 5, 2024 ...

04/03/2024

Global Media & Entertainment Talent Manifesto aims to address media technology skills crisis

Established in late 2023 by Carrie Wootten and Chris Redmond, the Global Media &...

04/03/2024

Accedo acquires streaming technology company Easel TV

The deal will see Easel TVs SaaS platform merged into Accedo One SaaS platform. Easel TVs brand name will be gradually phased out By Jenny Priestley Publishe...

01/03/2024

ITV sells share of BritBox International to BBC Studios

Following the streamers move into BBC Studios' Global Media & Streaming division, global CEO Reemah Sakaan will step down By Jenny Priestley Published: M...

29/02/2024

Cloud playout: A win-win for costs and carbon footprint

Andy Warman, senior vice president of product, Imagine Communications, details how leveraging cloud infrastructure can reduce operational costs and help the pla...

29/02/2024

NAB Show 2024 to kick-off with world's first AI-Human presentation'

Ameca will be joined on stage by Futuri CEO Daniel Anstandig to discuss the findings of a survey into how audiences perceive AI in the media By Jenny Priestley...

28/02/2024

Canal+ must make mandatory offer for Multichoice

Decision follows Canal increasing its stake in Multichoice to 35.01 per cent, which is above the 35 per cent threshold where a mandatory offer is required By ...

27/02/2024

Don't worry about a thing: Building the editing workflow for Bob Marley: One Love

Hula Posts Joel Ouano talks to TVBEurope about how the post production house wor...

27/02/2024

TVBEurope March 2024 issue available to download

The March issue focuses on the on-going move to sustainability in the media technology industry, goes behind the scenes of The Traitors, and discovers how The L...

27/02/2024

UK TV and film industry set for major skills crisis as over a third of workers expect to leave in next five years

Bectu is calling on broadcasters and the UK government to act now and halt the e...

26/02/2024

A lightbulb moment': The story behind The Jury: Murder Trial

TVBEurope talks to the production team behind Channel 4s social experiment to find out how they enabled viewers to look over the shoulders of two separate jurie...