According to the Cinema Ad Council, ad spending in movie theaters grew 15% in 2006 to $455.6 million, driven by strong ticket sales and the digitization of ad content distribution.
Advertising Age reports that the out-of-home advertising market has been growing as “spending shifts from traditional billboards to more accountable digital platforms,” and reached $6.8 billion in 2006. The majority of these dollars were spent on in-store networks and digital billboards.  Movie theaters have managed to lure marketers by selling the big screen as an alternative to cable networks or multiple-market billboard buys, says Ad Age.
What I find interesting is that movie theatre advertising represents one of those ‘captive audience’ phenomenae, where longer ad formats could work really well: Â
“…with in-cinema pre-shows often running 20 minutes of content and ads, there’s more inventory for movie marketers to buy. The pre-shows started out as a place for marketers to get extra mileage out of their 30-second TV spots. Now major marketers such as Coca-Cola Co., Procter & Gamble and Geico are creating custom, short-form content often 60 seconds or 90 seconds in length. Movie theaters are the only place to catch new Geico ads starring the popular cavemen now that the ABC sitcom is on the air.”
Ad Age quotes Stu Ballatt, senior VP-marketing and research for Screenvision, who says the long-form approach is helping drive growth of movie advertising. “It’s a continuing trend for people to place new creative into the cinema that isn’t necessarily used elsewhere or maybe is launched in cinema and then moved into other media,” he said.”
Main categories advertising in cinemas have been family restaurants as well as retail and package-goods personal-care products, Ad Age reports.Â
October 19th, 2007
Digital signage as a medium appeals to advertisers because of its potential to deliver both pin-point targeting and unprecedented levels of accountability. What may be this industry’s dirty little secret, however, is the fact that a large number of networks that are currently enjoying success do not have the proper reporting in place to provide this accountability to the marketers they service.
As my colleague Nurlan has been saying for years, digital signage has a strong advantage over broadcast media because of the fact that it can account for every ad played on every screen. Imagine if you could track with certainty every single time a commercial is displayed on every TV screen in the DMA when this TV set is on and tuned to the proper channel. Such tracking would be worth a lot of ad money, but it is not feasible for broadcast TV (except by way of expensive metering of sample audiences).
Well, the good news is that, in digital signage, near-real time tracking of each ad play on each screen (not just a player) can be a standard and automated procedure.
In order to take advantage of this, networks need to put in place the four components of a properly accountable digital signage reporting system:
1. Provide Proof of Display, not just proof of play. Proof of play is the term used in digital signage to describe the summary playback reports and the raw play logs. Proof of play is the equivalent of tearsheets in newspapers and of online impressions and click-through reports in pay-per-click marketing. While it seems obvious that proof of play should report on which ads were actually displayed on each screen and when, most of these reports only register which content was played by the playback device at best, not on the screens connected to it. If one or more of the screens are off or disconnected from the player, the proof of play would not detect that in many cases. This leads to the wrong count of ad plays, distorted count of impressions and the wrong conclusions in the post-campaign analysis. So by saying ‘provide Proof of Display versus proof of play’ we want to stress the importance of reporting of what really matters: playback at the screen level.
2. Audited Play Logs: most digital signage playback devices produce raw play logs that track what ad played, the date and time when it played and the duration of time it has played. In order to validate the accuracy of the entire reporting system, these play logs will need to be audited by a third party. Again, these audits register what’s being played on the actual screen, and then the results are compared to the play logs.
3. The Campaign Plan Report: the purpose of the campaign plan is to be able to provide a promise to the media buyer before they sign the ad contract. Using the characteristics of the network, one can generate a forward-looking plan that estimates how many times the ad will play in each targeted location. Having a Campaign Plan report with planned ad plays numbers will make it easier for you to justify your initial billing estimates.
4. The Campaign Performance Report: the campaign performance report aggregates the raw play logs for that campaign and presents the total results of the campaign against the “promise” made in the campaign plan report. The comparison between the planned plays and the achieved plays is how performance is calculated. The first 3 components are what make this report the basis for invoicing the media buy, make-goods or invoice reconciliation.
Based on my experience, the vast majority of digital signage networks out there do not have even two out of the four of the above components of a fully accountable digital signage reporting system.
Some networks charge a flat fee for a week-long, a month-long, three month-long, etc., campaign, based on approximate “impressions”, without providing any proof of play (or providing just an affidavit). Since the ways the impressions are calculated vary from network to network, such campaign cost estimates (and CPM values) are highly questionable.
Some provide a proof of play report, or play logs. As I mentioned earlier, most of the play logs, however, only report the fact that the player was on when the ad was supposed to play, not what played on the screens.
How is the industry getting away with it? I think the answer lies in the inherent appeal of digital signage as a medium. We see that even without any standards and metrics, retail digital signage and digital outdoor billboard networks are attracting more ad dollars every year. I believe that, similar to the world of Internet advertising before it, digital signage will soon undergo a rapid shift where the wheat will be separated from the proverbial chaff.
The question for network operators then becomes: will your network be ready in time for this shift?
October 19th, 2007