In one way, the career of David Abraham has come full circle. He began his working life in advertising – and, in his latest role, running his own company, Wonderhood Studios, he is once again involved in producing TV commercials, as well as making TV programmes. With his trademark heavy-rimmed glasses and carefully judged wardrobe, Abraham still looks like he might have stepped out of the pages of ad bible Campaign at its 1980s’ peak.
“That scale allows marketers to reach more people and grow their businesses.
“The need for scale is why we’ve seen so much consolidation across the media industry, including Sky joining Comcast NBCUniversal – and today you can’t achieve new scale without going global.…
“At Comcast NBCUniversal… we put… people at the centre of our strategy; we build scale… towards a shared vision. [This] means doing every part of your business the right way.
London’s Red Lion Square is a place often associated with political revolution. But a few steps away from Conway Hall, home of meetings for radicals and disruptors since the 1920s, is the gleaming modernist UK HQ of global advertising giant GroupM. There, a very different kind of revolution is being conceived.
In September, GroupM officially launched Finecast, an addressable TV service that offers British broadcasters and other UK-based content platforms the ability to provide targeted advertising via a single access point and using a common data currency.
Up early to listen to radio news in the shower before I turn on for my daily dose of Good Morning Britain. Pay debates rumble on in the media kasbah.
The day after Carrie Gracie resigned as the BBC’s China editor, here she is presenting Radio 4’s Today, but barred from curating the news story about herself. A magnificent confusion worthy of Evelyn Waugh or David Lodge at their best.
The item itself is less than helpful, since the programme’s guest doesn’t seem to know the difference between equal pay and the gender pay gap.
Many broadcasters are convinced that targeted advertising is a silver bullet. They claim it will help level the playing field with Google and Facebook and so future-proof their businesses.
But at a packed RTS early-evening event, 'Is targeted advertising the future of TV?', it became clear that the debate over smart advertising’s role in commercial TV is more nuanced than that. It is conceivable that internet-delivered, personalised ads aimed at individuals will one day be as commonplace as driverless vehicles are expected to be.
The evolution of technology is having a dramatic impact on TV advertising and this influence is felt across advertising, scheduling, TV platforms and the broadcasters.
A panel of experts gathered to discuss the future of targeted -or addressable- advertising at a recent RTS Early Evening Event.
On the panel, chaired by journalist Anna Dobbie, were:
That was one of the main conclusions from an RTS early evening event, Is targeted advertising the future of TV?
A capacity crowd heard how the arrival of streaming services headed by Netflix and Amazon Prime plus the challenge from Facebook and Google are changing the dynamics of TV advertising.
Catch-up TV and the traditional broadcasters' own on-demand offerings are also driving change.
All this is posing problems for audience measurement, the bedrock of TV advertising for more than half a century.
The advent of targeted advertising poses new questions about the role and jurisdiction of advertisers across VOD, data and linear TV services. This new offering supplies consumers with tailored and personal advertising which arguably improves the TV viewing experience by making it more relevant – which is a benefit for everyone in the TV industry.
On Sunday 18 December, Hollywood stuntman Dave Grant will make the 100ft 'Leap of Faith' and free fall at a speed of over 50mph live on Channel 4 to promote the new Assassin's Creed cinema release on 1 January 2017.
The bold jump pays homage to the protagonist's 'Leap of Faith' jump in the film, where Michael Fassbender's character free falls from the top of high structures.
The ad break has been created to celebrate the film’s director Justin Kurzel's decision for real life stunts to be used in place of CGI wherever possible in the film.