1. Televisión Abierta y Oportunidades
Comerciales Multiplataforma
Brian Crotty - Director de Medios
26-11-13

2. Business is challenging for us all
Media Planning has changed – less reliance on TV
Other video distribution forms slowly gaining traction
Connected TV´s and Smartphones are disruptive
Although TV is still dominant
Trading desks and Data Tools changing the way media is bought
Ratings models being challenged
Beware the Middlemen
Data changing everything –segmentation at scale
Content Management Tools allowing adaptive learning
Content Brands – distributed across channels and forms
Branded content types
Online providing more varied tactics
Relative Value
Traditional product placement
Emerging Options
Outstanding Ideas

3. Advertising v2013 - Issues
Creative Agencies
Remuneration that
doesn´t value ideas
Verticalisation of
disciplines
Creating engaging
content
Media Agencies
Clients
Fee structures
New revenue streams
Contractural KPI´s
Audits
Identity crisis – trying to
cover message planning
& Content
Predictable ratings
Tech Investment
Meeting expectations
Productivity and
efficiencies
Capable partners
In-house vs
outsourced
Losing valuable
customer data / leads
to competitors
Global Management
Building capabilities
Full Service Agencies
Contractural islands
Integrated model
Content Producers /
Vehicles
Time spent reducing
Fragmenting
audiences
Time shifting
On Demand
Ad Break audiences
Online Video
Middlemen
Measurement
methodology consistency
Data ownerships

4. Differing POV´s but we want the same thing
Build engagement and loyalty to repeat content consumption
Aggregate audience to monetise
Build engagement and loyalty to drive demand and purchase
Aggregate and influence audience

5. Reach
Channels for tasks
Build Awareness
Sustaining / Continuity
Images
Interactive
Off PeakTV
Cable TV
TV Bursts
Cable TV
Newspaper
Magazine
OOH
Magazine
OOH
Magazine
Packaging
Web Campaigns
Video
Prime Time TV
Cable TV
Web Site
Web Site

6. Reach
Surgical use of Prime Time TV + Persistent presence
Build Awareness
Persistent environments
Video
Prime Time TV
Cable TV
Online Video
Off PeakTV
Cable TV
Online Video
POS Video
Online Video
Magazine
Images
Newspaper
Magazine
OOH
POS
Packaging
Interactive
Owned Assets
(Sites, POS etc)
Social
Owned Assets
Search
Owned assets
Services
Apps, Social
Search

7. Bar - TRP´s Per Week
Area – Adstock
AB258-49
Single currency for video – TRP´s, R&F, CPM

8. Optimising Mix To Get Most Efficient Buy
<- $50-$75 ->
<- $15-$50 ->
<- $15-$50 ->
Video buys accross channels

9. Video buys across channels – Audience targetted online
can reduce excessive frequency against heavy viewers
$10-$50 ->
<- $50-$75 ->
<- $15-$50 ->
<- $15-$50 ->

10. More competitors for entertainment share of wallet / time

11. Poliferation of devices and places to access content

12. Connected TVs: Ownership Still Low but growing
Smart TV ownership is high around the world
and is expected to increase through 2016
NORTH AMERICA
EUROPE
ASIA-PACIFIC
LATIN AMERICA
2013
51MM
55MM
151MM
9K
2014
65MM
70MM
196MM*
2MM
2015
78MM
85MM
254MM*
5MM
2016
87MM
95MM
331MM
8MM
Source: eMarketer, 2012
*Average projection of 2.3% average yearly growth

13. Biggest disruptor - Smartphone penetration growing
Latam – 140 Million smartphones by end of 2013
Brazil – Base of 40 Million Smartphones in 2012. + Samsung alone expect to sell 17Million in 2013 / Total market 21.4Million
Mexico – 12.2Million in 2012, 16Million in 2013
Argentina – 5.9Million in 2012
Wifi penetration improving, but affecting more affluent – those than can afford data packages

14. What people are doing with their Smartphones

15. Simultaneously doing other things while using Smartphones

16. Despite all the hype – Time spent with other
devices still relatively low
12%
11%
6%
4%
4%
63%
TV ABERTA
PAY TV
RADIO
REVISTA
JORNAL
INTERNET
Source: AlmapBBDO: Brazil September 2013

17. Share of Time vs Share of Investment –
TV still dominates
12%
11%
4%
1%
0.44%
28%
49%
6%
4%
4%
16%
63%
TV ABERTA
PAY TV
RADIO
REVISTA
JORNAL
INTERNET
Source: AlmapBBDO / Intermeios: Brazil September 2013

18. TV Dying? More Alive Than Ever
AUGUST 21, 2013
Here are some facts from Nielsen's Cross-Platform
Report for the 1st quarter of 2013:
• The average American spent about six times more
time watching live TV than on the web.
• 97% of all video was viewed on a television. Less
than 3% was viewed online.
• About 1/2 of 1% of video viewing was done on a
mobile phone.
• Average live TV viewing increased by more than 1.5
hours a month compared to last year.
• 92% of TV viewing was done live. 8% was timeshifted (DVR.)
• TV viewing remains at record high levels.

19. TV is still the most common way to find TV content

20. Multitasking not disruptive

21. Multitasking is social – People stay in front of TV
Key findings were that multi-screening means people are more likely to stay seated through an ad break and
therefore increases ad exposure, and that people have always multi-tasked whilst watching TV, having
conversations, interacting with children and animals, reading magazines and engaging in hobbies. It was
found that except for having a conversation, orientation towards the TV was maintained through various
multi-tasking and -screening behaviour. Additionally, multi-screening may enhance enjoyment of television
as devices allow for greater engagement in the program.
Source: WARC - Multi-screen viewing behaviour, Dr Ali Goode and Neil Mortensen, Lingua Brand and Thinkbox

22. Twitter drives Audience and Stakeholder engagement
MEDIA AND ENTERTAINMENT| 06.05.2013
Over the last six years, TV networks’ Twitter accounts have gone from being little more than
promotional outlets for tune-in messaging to real-time channels for networks and advertisers to Interact with highly engaged audiences.
Evan Silverman, SVP, digital media for A&E networks, says that advancements in social TV analytics are giving the industry a way to
measure the total size of the social TV audience—both those participating in the conversation and those who watch on the sidelines. And
these analytics are making the social TV opportunity real and measurable for advertisers.
At Nielsen’s Consumer 360 conference in Phoenix, Silverman discussed how A&E was able to drive audience engagement for the hit show
“Project Runway,” which runs on its subsidiary Lifetime network, through strategic Twitter TV initiatives.
When “Project Runway” launched a “Fan Favorite” social campaign, encouraging viewers to vote for designers by using custom hashtags,
the initiative resulted in nearly five comments per unique user—more than the ratio for any other cable TV show at the time.
A&E believes that there should be a premium charge for programming with high social engagement, Silverman said.
“The most important thing we all do is to generate a linear rating for our company. However, social TV is
extremely valuable in its own right and absolutely helps amplify the conversation, helps sponsors participate in
programming,” he said.
Dedicated Twitter accounts are a relatively new industry practice: They became a mainstream in 2007, just a year after the first tweet was
sent in 2006. Last year, social TV took a big leap forward when Twitter launched Twitter Cards, which enabled partners to create interactive
experiences within tweets.
Looking at the results of a new SocialGuide study, viewers spend the majority of their Tweets during program time rather
than during commercial time.
The study also found that the share of Tweets sent during commercial time was driven across genres by the share of commercial time
within a program’s airtime. In sports, for example, commercials ran during 24 percent of airtime, and 25 percent of
Tweets were sent during commercial time.

23. Miley Cyrus VMA – Social Analytics – Valuable Insights
Miley Cyrus and Robin Thicke perform at the 2013 MTV VMAs
As a brand that has long had event sponsorship at the heart of its marketing formula, Pepsi
sought a more scientific way to study the correlation between TV viewing and
second-screen usage during live programming.
So using research methods such as biometrics, the brand looked at consumer behavior during
the MTV Video Music Awards telecast this past August—the top-rated entertainment program on
cable among viewers aged 12-34 this year, and the most social non-sports TV event.
What emerged were some surprising differences in media usage among millennials. During
pivotal moments of the show—like Miley Cyrus’ twerk-tastic duet with Robin Thicke (which
generated a record 360,000 tweets per minute)—consumers 18-26 immediately shifted from TV
viewing to second screens. Meanwhile, those aged 27-34 stayed with the telecast, waiting to
engage in social conversations.
“The younger group already had their hands ready and immediately went to
social media to start talking,” said Chad Stubbs, senior director of marketing at PepsiCo.
“The show ebbed and flowed, and a key thing we learned was having a brand message throughout the show was important,” he added. “In the
past, maybe we said we would need a big part at the beginning or the end.”
Carolyn Kim, associate director of business intelligence at Pepsi agency OMD, pointed out that while there is not a wide disp arity of ages among
the millennial set, continual advances in technology have led to behavioral differences among those consumers.
Consider this: When email became widely available in 1993, older millennials were 11 years old—but younger millennials were just 2 years old.
“Those younger viewers really grew up more with technology as an ordinary part of their everyday lives,” Kim said.
During the VMAs, Facebook was the most popular social media brand, accounting for 41 percent of consumer usage, followed by Twitter with 32
percent. And while Cyrus’ antics burned up Twitter, performances by Justin Timberlake and Katy Perry had fans taking to Facebook to discuss.
Stubbs said he thinks there was a good balance between the brand’s TV and online investment during the VMAs. But he would consider devoting
more resources to monitoring social activity. He imagines a focus group that might include a comic, an industry insider, and key millennials and
influencers in order to explore ways that the brand might respond to ultimate fans. “We know live TV is a place we need to be—it’s still incredible
appointment viewing,” he said. “But it’s not enough for an advertiser to show up with a beautiful ad and wait for everyone to come to it.”

24. Business is challenging for us all
Media Planning has changed – less reliance on TV
Other video distribution forms slowly gaining traction
Connected TV´s and Smartphones are disruptive
Although TV is still dominant
Trading desks and Data Tools changing the way media is bought
Ratings models being challenged
Beware the Middlemen
Data changing everything –segmentation at scale
Content Management Tools allowing adaptive learning
Content Brands – distributed across channels and forms
Branded content types
Online providing more varied tactics
Relative Value
Traditional product placement
Emerging Options
Outstanding Ideas

25. How to optimise perishable inventory and the rise
of Agency Trading Desks
Technology Driven buying tools
• Programatic Buying
• Real Time Bidding Systems
• Data Management Platforms
• Content management
Systems
Challenge to optimise yield
without destroying value

26. Measurement Methodologies under scrutiny
Gross Rating
Points
(GRPs)
Target Rating
Point
(TRPs)
Online
Impressions
Online Targeted
Impressions
Online GRP
(iGRP)
True View
Value Points
Reach
Targeted Reach
Reach
Targeted Reach
Reach
Actual Reach
Impact of Reach
Device
Limitations
Infancy Stage
Due to Cross
Media
Measurement
Limitations
Panel Limitations, No Exposure
Guarantee
Device Limitations, No Visibility Guarantee

27. Trading Desks - Treading Carefully Beyond Online
GroupM Trading Desk Unveils
Programmatic TV Audience Buying,
Claims Xaxis TV First To 'Sync'
Digital Campaigns With TV Ads
Interpublic Strikes Deals
Automating Buys With 5 Media
Giants: Covers TV, Radio,
Outdoor, Display, Video, Mobile
Global Ad Buys Might Finally
Become a Reality - Marketing
across borders
by Joe Mandese, Sep 9, 2013, 8:55 AM
Editor’s Note: The original version story incorrectly implied that
Xaxis TV would facilitate programmatic audience buys of
television inventory, when in fact, it will only utilize TV-like
metrics to target audience-buying in “broadcast-quality”
inventory online. Moreover, ABC has not agreed to incorporate
TV or video inventory as part of its agreement with Xaxis, just
static online display ads. For more about how Xaxis TV actually
works, read an interview with Xaxis’ Brian Gleason in RTBlog.
GroupM’s Xaxis unit, the largest of Madison Avenue’s so-called
trading desks, this morning unveiled its push into programmatic
television audience-buying with a new platform dubbed Xaxis
TV. The move comes as others, including Interpublic’s
Mediabrands, a spate of online video ad networks, and
targeted and addressable TV infrastructure players such as
Visible World and Invidi, have begun accelerating the
development of programmatic exchanges for buying and selling
TV audiences that are akin to online’s.
Xaxis TV, along with a second new platform called Xaxis Brand
Suite, is part of an ongoing push by Xaxis, “the world’s largest
audience buying company,” into traditional media. It previously
developed audience-buying exchanges covering out-of-home,
radio and conventional online video, and now it’s extending its
reach into television.
Significantly, Xaxis claims to have already gained access to
“premium inventory” from dozens of top “broadcast-quality
media owners” as part of its foray into programmatic TV
by Joe Mandese, Aug 20, 2013, 8:14 AM
On the heels of last week’s deal naming Adap.tv its
primary automation platform for targeting and buying TV
and video inventory, Interpublic this morning unveiled a
spate of similar deals to automate its transactions with
five big media suppliers traversing TV, radio, out-of-home,
mobile and online video and display.
Details about how the deals would be structured and how
they would work were not disclosed, but Interpublic said it
now has agreements with TV programmer A&E Networks,
cable operator Cablevision, out-of-home and radio
operator Clear Channel, local broadcaster Tribune and
online portal AOL, which is in the process of acquiring
Adap.tv, to supply assets “not previously available
through automated buying systems.”
The initiative, which was developed by Interpublic’s
Mediabrands unit, is dubbed the Magna Consortium, and
is part of the agency holding company’s mission to
automate 50% of its media-buying by 2016.
Interpublic has said it is making the push for several
reasons, including both greater operating efficiency for its
agencies and its clients as media-buying becomes hyperfragmented and hyper-complex, as well as greater
precision in targeting audiences it says will result by
shifting from conventional audience-buying data (ie.
Nielsen ratings, GRPs, etc.) to estimates that co-mingle
so-called first- and second-party sources of data in a
By Lucia Moses August 18, 2013, 10:26 PM EDT
When the holding companiesPublicis and Omnicom
announced last month they were joining forces to form
the world’s largest ad agency group, they called it “a new
company for a new world.” Other, hyperbolic terms used
to describe the mega merger included “stunning,”
“seismic,” “a superstructure”—and that was just our own
reporting.
In reality, the concept of global marketing is not so earthshattering. It’s been around since the first merchant went
to sell his goods abroad. Yet on a larger scale, global
marketing has been much more challenging—borders
have proven to be barriers. And yet, OmniPubis just the
latest evidence that the global media buy may be
becoming more of a reality.
“We can now reach consumers globally and get feedback
globally,” IAB president and CEO Randall Rothenberg
points out. “Now, fact meets a 30-year-old theory,” he
says, referring to the rise of the idea in the ’80s that in the
age of the multinational corporation and the homogenized
consumer, marketers could (cheaply) sell the world the
same product with the same message—an idea that
would prove easier said than done.
Marketers would come to realize the monolithic global
consumer segment had its limits, as brands found that
translating ad campaigns into other cultures required
more local understanding than they had anticipated. And

28. Segmented Audience At Scale – Reducing Wastage
Existing Market Map
(Customer Profiles, Media habits)
+
A) Predetermined
Segments
Retargetting
(Multiple Impacts across portals)
Market Data on: In Market
Buyers, Shoppers, Demographic,
Behavioural Filters





Current Customers
/ Prospects
Tag / Cookie online
environments
Look Alike Expansion
(People with similar profiles)



B) Sample of Engaged
Prospesct / Customers
Customers that are going to online
environments
X1
X3
X6
X10

29. Content production quality – Broadcast quality not
always needed
Richer content form the better
Bandwidth no longer an issue
More relevant – lower quality expectation
Production costs reducing to enable lower cost segmented content
Timeliness – time sensitive content vs evergreen
First 5 seconds essential

30. Integrating Segmented Marketing to drive performance
Mass Content
Mass
Exposure Based
(Geographic, Demographic)
Most Practical
Test & Learn
Mass
Ideal
A Balance
Audience
Segmented
Audience
Inefficient
Addressable
Performance based
(Geographic, Demographic
Behavioural, Consumption)
Segmented Content

31. Digital Darwinism.....make assumptions.. Set multiple
options in play….strongest strategy survives
Set assumptions in play
Eliminate weakest
Learn, adapt to introduce new options
Eliminate weakest
... Constantly monitor to optimise

32. Dynamic Creative Optimization
Variants:
Ad size
Color
Product
Message
Call to action
Price
Social features
Site context - Location - Behavioral
User demo - Client data - Retargeting

33. Opt In Video – First 5 seconds crucial (To avoid skipping)

34. Trading Desks - Arbitrage and margins

35. Protecting your content from middlemen
PORTABLE DEVICES
One of the advantages of the Brazilian digital TV is mobility. You can watch digital TV
through mobile devices such as mobile phones with digital TV, mini-TVs, laptops and
other devices with screens smaller than televisions. Whether you're in a car, bus, train
or on foot: the image is always of excellent quality.

36. Protect your customer data

37. Content Brands / Mastheads / Franchises –
Distributed across content forms and channels

38. Film Marketing: Excellent example of Multiplatform content
WOM
1. Each Film is a business in itself
2. The stakeholder are the business
owners
3. Core idea focus (Start from the
centre out)
4. Core idea scenario testing
5. Process leader / director
6. Consistent branding across all
touch / brand experience points
7. Clearly aligned process (across
multiple specialist suppliers)
8. Content planning (clear / efficient
development plan before channel
selection)
9. Source of innovation based on
ROI
10. Balance of short term and long
term brand needs
Transalation casting
Casting competitions
Promotions
Trailer
Posters
Merchandising
PR
Film
Wallpapers
TV ads
Ringtones
Print ads
Soundtracks
Star tours
Winks
Directors cuts
Blogs
User generated
Digital
Commentaries
Games
Making of
Samples

39. Business is challenging for us all
Media Planning has changed – less reliance on TV
Other video distribution forms slowly gaining traction
Connected TV´s and Smartphones are disruptive
Although TV is still dominant
Trading desks and Data Tools changing the way media is bought
Ratings models being challenged
Beware the Middlemen
Data changing everything –segmentation at scale
Content Management Tools allowing adaptive learning
Content Brands – distributed across channels and forms
Branded content types
Online providing more varied tactics
Relative Value
Traditional product placement
Emerging Options
Outstanding Ideas

40. Traditional

41. Contagious Magazine Branded Content Segmentation
Leveraged
Sponsored
Leveraged This applies to classic product placement, where a
brand gets value from being inserted into a content property.
For example: Coca Cola on The X Factor (US)
Sponsored This is when a brand supports a property, and gains
endorsement through content: from sports teams, to events to
personalities
For examples: T-Mobile and Katy Perry
Partnered
Partnered This is when a brand collaborates in the development
of a content property and shares production, promotion and
distribution
Eg: IBM and Watson – Jeopardy
Originated
User-Centred
Originated This is where the brand acts alone to create content –
and often involves it managing distribution alone
For Example: Gatorade Replay
User Centred We’re seeing an increasing number of brands
using technology to create content that centres around data and
actions from the user
For Example: Intel, Museum of Me, Lynx

42. Contagious Magazine Branded Content Segmentation
Benefits
Weaknesses
Product placement leverages a content partner’s mass audience
Places product within a core part of the story that reflects usage
Brand can leverage the equity of celebrities within the content
who may be seen to endorse the brand
Reach and frequency prioritised over engagement: what effect beyond
awareness does the strategy offer? Increasingly cynical and astute
consumer culture can easily spot product placement, which erodes the
value of its placement It’s hard to make a meaningful connection to the
audience, and usually fails to ‘add value’ for the user, or viewer / audience
Sponsored
Astute brands that develop content through sponsorship find new
ways to connect fans of a property to their passion Brand should
play a meaningful role in supporting the delivery of the content,
and enhance the experience of engaging it
Whilst sponsored branded content offers brands a chance to present and
distribute content, there may not necessarily be integral to the story of the
content itself Sponsored branded content can therefore often be guilty of
simply ‘labelling’ or badging content
Partnered
Spirit of collaboration between parties offers opportunities to be
more creative with the content created: it should be something
unique Partnership approach should offer opportunities for the
brand to play a more relevant role in the story of the content, and
therefore be more engaging
Much riskier strategy: neither party may be an established content
property in their own right Collaborating parties therefore need to ensure
they are creating an experience that is relevant and engaging enough to
compete with and stand up against more traditional content
Originated
Originated content offers a brand more control and creative
license over what it creates and how it is distributed Best
originated content creates valuable conversations around the
brand or product, and helps the brand to better explore and
explain itself through storytelling
Brand may lack the skills to fully develop stand-alone content Increased
risk of either product being too ‘front and centre’, or its presence too subtle
to generate any sense of meaning or role Some brands miss that the most
interesting thing about originated content will be the conversations around
it – listen, contribute and engage
User-Centred
People innately respond to technology when it reflects their lives
back to them in new ways Whilst these are individual
experiences, people love to share and distribute them to each
other Data exchange: content is driven through data provision
from participant and brand should use this wisely
Privacy and data concerns: many consumers are weary of relinquishing
personal data Current limitations to generating this type of content mean
that a lot of the examples are similar – but this should quickly evolve to
help brands create more differentiated experiences
Leveraged

43. Emerging

44. Google Segmentation of content types

45. Google Segmentation of content types
http://www.youtube.com/user/TheNorthFaceVideo
http://www.youtube.com/watch?v=ruav0KvQOOg
http://www.youtube.com/watch?v=RP4abiHdQpc
http://www.youtube.com/watch?v=NLJtCzc5POg
http://www.youtube.com/user/GoProCamera
http://www.youtube.com/watch?v=Xt6at8wCkbw
http://www.youtube.com/watch?v=rA7IIHdY6XQ

46. Relative Value

62. Traditional

63. AXN: The Firm Virtual Billboards

64. AXN: Hannibal Virtual Product Placement

65. CQC - Pepsi
• All vignettes are original from the TV Show
production and part of the context
• The content of the show is audacious and
witty, aligned with the brand essence
• The sponsorship lasts longer then the buy,
generating lots of productivity
• Alignment with target audience
• Weekly show guarantees constant awareness
generation

66. Syndicated

67. Football DSDS – SBT/Fremantle Reality Show
Reality Show “Menino de Ouro”
Thousands of boys in Brazil want to be a football star, and this
Reality Show, Menino de Ouro, selected 22 boys (13 to 15
years old) among 10,000 candidates, who will run several
eliminating football competition tasks along the program, and
only one will become the winner after 12 episodes (March 24th
to June 9th 2013), becoming “O Cara”, to be hired by a big
football team in the city of São Paulo.
All Day Average Audience Participation %
Source: Ibope Media Workstation – Broadcast TV Nationwide
Period: 28/01 to 03/02 of 2013 / Target: Brazilian Households
SBT is the
second biggest
Broadcast TV
Network in Brazil
in terms of
audience share
considering total
territory
Media Delivery & Investment
504 inserts of 5” Vignettes opening and closing the program, and split all over the
network programming
581 30” spots inside the program breaks and all over the network programming
VW Logo along the Football Arena Billboards
Total delivery of 1,114 GRPs weighted in Both AB 18+ during 2013
CPP of R$ 7,450.00 (around 55% less than usual VW BTV CPP)
Investment = R$ 8,3 Million in ‘13 (+18% Vs. VW ‘12 SBT media spend)
Special Projects
Besides the regular media delivery, VW special media proprieties below:
•Team Captain Task: each episode, the winner of this task will be nominated as “O
Cara” and will receive a VW Clamp as the winner of the day;
•Second Screen: along with the BTV programming, exclusive VW digital content and
promotion, will engage the audience and create interactions, asking for tips about
who will be “O Cara” of the that episode;
•Exclusive VW Content: in every final episode, the boys have to go home and return
to the Reality Show in the other day, so, VW will transport them using VW Cars, while
interviewing the boys to hear about their dreams, idols, real life and all that inspire to
become “O Cara” (Exposition in BTV + VW Digital Platforms as YT + FB)
Criteria: weighted 5” using index of 0,375 Media delivery considering also regular media
along 2013 negotiated along with the media package

68. RBS - Peneirinha Gillette 2012

69. Emerging

70. Shazam – Like a QR code for Audio
Fiat debut campaign with Shazam Platform allows
consumers to synchronize campaign through audio
and gain access to extra content
NATHALIE URSINI | » October 22 , 2013
Fiat is Brazil's first advertiser to try the new features
of Shazam . The campaign will debut in Shazam for
TV , was to launch the new Strada 2014 which has
squashed in music and mood communication. The
campaign premiered on television last weekend and
has creation of Fiat Agency , which includes
professionals Leo Burnett Tailor Made and
AgênciaClick Isobar .
A parody of the song Mary, who gained notoriety in
the voice and swagger of Ricky Martin, who leads
the film presents the main new features of the car:
higher volume in the hopper , new design and the
third door. The campaign films for television ,
internet and radio spots .

71. Shazam links second screen to TV.
2
1
Master is Aired,
Signal is Broadcast
Digital signal (Watermark) is
embedded in the master
3
4
Mobile App listens,
Recognizes signal (ACR)
Signal triggers events
inside the app

72. AXN: Hannibal Second Screen & Social– Empowering
evangelizers / Hannibal Fannibals
A multi-platform companion viewing
application that syncs to each episode as
it airs, revealing content that provides
depth to each episode and teases out
upcoming storylines.
Created incredible Fan Art that was shared online
around the world.
Organized a campaign to renew the series, urging
fans across social media networks, and related fan
communities to tune-in!
Images from the Hannibal Tumblr page

73. Outstanding Stories

74. SingTel – Hawker Heroes

75. Mr. Bauducco - Globo 6pm Novella
We closed an unprecedented project with Globo to create a character in the novella Joia Rara.
Being a period novella, which portrays the culture of the country and of other nationalities, including
Italians, we took the opportunity to tell the story of the arrival of Panettone in Brazil, introducing Mr.
Bauducco in the plot.

76. Business is challenging for us all
Media Planning has changed – less reliance on TV
Other video distribution forms slowly gaining traction
Connected TV´s and Smartphones are disruptive
Although TV is still dominant
Trading desks and Data Tools changing the way media is bought
Ratings models being challenged
Beware the Middlemen
Data changing everything –segmentation at scale
Content Management Tools allowing adaptive learning
Content Brands – distributed across channels and forms
Branded content types
Online providing more varied tactics
Relative Value
Traditional product placement
Emerging Options
Outstanding Ideas