Online video advertising campaigns india,seo google 2014,software marketing plan template free 2014,marketing automation for dummies - 2016 Feature

To put it another way, thata€™s like watching the 1954 Cecile B Demille classic The Ten Commandments six times in one month (dona€™t try this at home-or anywhere). For business owners and marketers, the explosion in online video consumption represents a massive opportunity if handled properly. Any decent online video marketing strategy should also take into account the rapid consumer shift to mobile devices generally and tablets specifically. Since this trend has kept growing almost unstoppably since 2005, there's no sign it will ease off pretty soon.
If you want to get a comprehensive overview of the opportunities to monetize your existing video archive or your upcoming daily video production, the International Advertising Bureau has put together an official set of guidelines and metrics to make sense of the emergent set of standard in-stream video ad formats. All other recommendations in this document should be considered best practices and should strongly be considered for adoption, but are not necessary for compliance. Although many of these formats can apply to full-screen and live experiences, this document does not specifically address those environments because of the high level of customization between publishers. While this document's purpose is to develop more standardization in the most common areas of the digital video landscape, the IAB continues to encourage creativity and innovation in video ad formats.
As with all IAB guidelines, this document will be updated as the dynamic digital video advertising landscape progresses and new ad formats become more widely adopted. In November 2005, the IAB Broadband Committee (now the Digital Video Committee) released creative guidelines for online video commercials to further enhance the user experience and improve the efficiency of planning, buying, and creating online media without constraining creative opportunities for marketers. Since 2005, both the experiences and consumption of video content have evolved significantly and newer video ad formats have been introduced to compliment these emerging types of video experiences and environments. Currently the most common digital video ad experiences are either viewed within or around "in-stream", "in-banner" or "in-text" video formats. In-Text Video is generally user-initiated and triggered by relevant highlighted words within content. Linear Video ad: The ad is presented before, in the middle of, or after the video content is consumed by the user, in very much the same way a TV commercial can play before, during or after the chosen program. One of the key characteristics of a linear video ad is that the user watches the ad in addition to the content as the ad takes over the full view of the video. Common linear video ad formats include pre-rolls, interactive takeovers, and short bumper vignettes that appear prior to the video content stream. Non-linear Video ad: The ad runs concurrently with the video content so the users see the ad while viewing the content. Both linear and non-linear video ad formats have the option of being paired with what is commonly referred to as a "Companion Ad". Companion Ads: Commonly text, display ads, rich media, or skins that wrap around the video experience. The primary purpose of the companion ad is to offer sustained visibility of the sponsor throughout the video experience.
Companion ads may offer click-through interactivity and rich media experiences, such as expansion of the ad, for further engagement opportunities. A time-limited video advertisement that can be shown before, in the middle of, or after the user sees the content in the video player. It is important to note that this is a minimum consideration set and that other ad sizes may also be offered by a publisher in addition to at least one of the listed sizes. It is recommended, but not required for guideline compliance, that publishers adopt the following list of specifications in order to encourage standardized and more operationally efficient submission practices. Scalability: If scaling of ad is possible, publishers should disclose to buyers in creative specs how scaling may occur. Publishers should disclose to advertisers when running multiple ads in a pod during commercial breaks. Publishers should accept at least one of the following formats for companion ads: jpeg, gif, png, swf (Adobe Flash), and xap (Microsoft Silverlight). In order to deliver optimal user experiences, publishers should continuously manage and analyze the ratio of ads to content. Ad duration can continue if the user continues to interact with the ad based on publisher criteria. When possible, simple interaction cues, such as a small graphic or animation, should be included to ensure users understand when and how to interact with the ads.
If user interacts with invitation, content is paused and full video ad is displayed in the video window. If user does not engage with overlay it may disappear, collapse to a "leave-behind" companion ad or be persistent for entire content play. Publishers should include a persistent close button in the upper right corner of the overlay ad unit. Publisher should clearly use overlay labels to identify unit as "Advertisement" within frame or next to overlay unit.
The ad is most commonly presented anchored to bottom of player, but may be anchored along the top or side of player at the publisher's discretion.
Like the overlay, this unit presents an invitation to engage with the ad concurrently with the content experience.
However, rather than overlaying the content, the non-overlay ad's invitation resides outside the live video frame but within the video window.
It is important to note that this is a minimum consideration set and that other ad sizes may also be offered by a publisher in addition to one of the listed sizes.
The primary purpose of companion ads is to offer sustained visibility of the sponsor throughout the video experience. Companion ads may offer click-through interactivity and rich media experiences, such as expansion of the ad for further engagement opportunities, and may include text, graphics or rich media and may be combined with any of the format standards listed above to create unique experiences for users and opportunities for advertisers. Creative specifications for companion ads are not detailed in this document and should continue to be governed by each individual publisher. Publishers may continue to accept companion ads in other sizes, however, the minimum requirement is to accept one or more of the listed sizes for companions. Originally written by IAB Digital Video Committee for IAB and first published on May 1st 2008 as "Digital Video In-Stream Ad Format Guidelines and Best Practices". The Digital Video Committee of the IAB is comprised of 145 member companies actively engaged in the creation and execution of digital video advertising. A recent survey found that 70% of senior advertising executives are planning to shift more of their television advertising budget over to online video advertising. But if you see an online video that inspires or outrages you or makes you laugh, you can simply press a button and share it with hundreds or even thousands of people—which is something 92% of mobile video viewers do regularly.
But with video, you can find websites that cater to highly focused audiences who have a huge amount in common.
You can test different videos and discover exactly which ones do the best job of converting viewers into customers. It’s what people want.  According to Software Advice, more than 90% of online consumers say they’ll  watch an online video ad compared to other forms of marketing content such as case studies (84%), webinars (78%), free trials (61%), or ebooks (48%). Digital video series: What is the future of online video advertising and will it take over from TV? The Drum catches up with a cross-section of the online video industry to discuss the evolution of online video advertising. As part of The Drum’s latest digital media supplement, focused on the opportunities of online video, we are publishing a series of articles exploring a range of topics, from how to produce effective branded content to the challenges of video real-time bidding.
In today’s article, we ask: What is the future of online video advertising and will it take over from TV? As for whether digital video will take over from TV, I think digital video is more likely to take budget spend away from other mediums, such as print, outdoor or digital display, rather than TV. Our recent 2013 UK Digital Video Advertising report gives a clear indication of where things are headed in this space. As with any development within advertising, including the future of online video advertising, it depends on the audience.
The future of online advertising is intertwined with how the video on demand (VOD) market develops. I don't believe however, that TV will ever stray too far from the centre of campaigns, as it can still draw large crowds and produce high volumes of impressions from a marketing perspective. TV will always have its place, but will come under increasing pressure to become more accountable, especially with the advent of connected TV. It is essential to understand that they are different mediums, using similar ad formats, that should be complementary to one other, like any other type of media. The future of online video advertising will focus on addressable media – the ability to target people based on their age, gender and interests. The winner will be the player that can generate the most efficiency – providing the right message to the right audience at the best price.
Data will define the future of video advertising, playing a role before, during and after ads are seen by the consumer.
Online video won’t take over from traditional TV per se, it’s not simply a case of one medium replacing another.
With constantly improving streaming capabilities on smartphone and tablet devices, including rising 4G network subscriptions, consumers are watching video content on more than just their TV. Online video advertising won’t kill TV, although as more and more content is viewed on smart TVs there will obviously be a shift. Most likely, the Internet user coming across your item of online video advertising has just sat down in the subway, at a coffee shop, on the bench in the park, trying to watch a video. One way to put it is that it should draw attention just like a graffiti on a wall, instead of another faded ad in a gray newspaper. This automatically gets the viewers involved in the story displayed in front of them on the little screen.
If you start to invest in the mobile ad and you are dedicated to make Internet users click your ad, then go all the way in your attempt to get them to click.
Appscend, the all in one performance oriented mobile app platform, assists companies worldwide to quickly develop, monetize and maintain a large number of simple or complex mobile applications, for both iOS and Android.
Video advertising is one of the fastest-growing opportunities online today, as well as one of the most promising online advertising formats. Despite the surge in interest in digital video by both the consumer and advertiser, there are still many components of video advertising that are confusing, making the need for standards and best practices essential. For this reason and to address the need for greater business awareness around the potential that online video advertising offers, the International Advertising Bureau (IAB) has released an overview guide to make sense of the online video advertising business.

During the early 2000s, as the Internet valuation bubble burst and the interactive industry regrouped, digital video progressed slowly.
As the interactive industry rebuilt, leaders such as Microsoft's Windows Media Player, Yahoo's Launch, The FeedRoom, and MSNBC's video content inched the industry forward by selling "test" programs to blue-chip advertisers who wanted to learn about the medium and gain insight.
At this point, many believed that the future of digital video content lay in a subscription, rather than an ad-supported, business model.
These were the first broadband upfronts in the history of advertising and the move proved to be transformational, positioning Starcom Mediavest as a leader in video advertising. Clients like Procter & Gamble, McDonald's, Kellogg's and Coca-Cola allocated millions of dollars for digital video and immediately focused media buyers across the industry on the value of premium online content.
Unlike 1998, however, advertisers, agencies, and publishers now had experience with online display and search advertising and were ready to expand their budgets to include digital video. Meanwhile traditional television marketers easily understood the power of digital video's sight, sound, and motion and began to take interest in online's video advertising capabilities. According to eMarketer, digital video grew to a $775 million segment in 2007 and the same source predicts rapid growth by 2011 with $4.5 billion in online video ad spending.
The operating ecosystem for video advertising can be complex and contains various entities, all of which play a different but vital role in the development, production and distribution of video advertising. In an environment as fluid as the Internet, these roles are sometimes blurred and can be confusing. With tens of millions of videos available online today and millions being added each month, consumers can view videos never before accessible through traditional mediums like television. Consumers can effortlessly go from watching a professionally produced television show to a 10-second clip of a friend describing their first year away at college. Premier programming: gives users professionally produced content, generally, re-purposed from broadcast video and cable networks. There is a large amount of professionally produced video that has not been digitized but is quickly working its way online. Professionally-generated specialty programming: video content professionally but generally created for a specific subset of online video consumers. Whether it is original content for the web or content from traditional media like local news or community events, consumers are searching for and consuming video content relevant to their micro interests.
User-generated video: consists of clips created and uploaded by everyday people and make up the largest volume of videos available online. Generally, the majority of these clips are watched by a small group of users but due to viral word-of-mouth messaging some become extremely popular and are viewed by millions.
While these categories may vary in production quality, time length, and resolution, consumers are drawn to each category for different reasons and a variety of video ad products have been developed to best fit each of these different experiences. In May 2006, the IAB broadband committee (now the digital video committee) defined a video ad as a commercial that may appear before, during, or after a variety of content including streaming video, animation, gaming, and music video content in a player environment. This definition included "broadband video commercials" that appeared in live, archived, and downloadable streaming content. Since 2006, both the experiences and consumption of video content has evolved significantly.
Through 2007 and into 2008, the most common digital video ad experiences were either viewed within or around "in-stream video", "in-banner" or "in-text" formats.
In-text video is generally user-initiated and triggered by relevant highlighted words within content. Due to the fact that in-banner video advertising and in-text is generally tracked and operationally supported as a rich media advertisement, the major focus of this document will be on in-stream video advertising.
While these three video ad types currently make up the majority of video ad inventory, there are other available methods of triggering a video ad experience, including brand integration like sponsorships and branded content. Another area of innovation in video advertising is to advertise entirely outside of the video all together, or within the perimeter of the video, leaving the video stream ad-free - this practice is generally referred to as an advertising "skin". In-text video advertising is similar in that it does not require video content to deliver a video ad.
In-text video highlights words and phrases within the text of web content and links the word to a relevant video advertisement. Linear video ad: is presented before, in the middle of, or after the video content is consumed by the user, in very much the same way a TV commercial can play before, during or after the chosen program. One of the key characteristics of a linear video ad is that the user watch the ad instead of the content as the ad takes over the full view of the video. Because a user cannot experience the intended video content during a linear video ad impression, the ads are either placed before the content (also referred to as pre-rolls), between the content, or after the content. Note: the term "pre-roll" is also regularly referred to as a 15 or 30 second spot, but in this document "pre-roll" is used consistently as a description for the placement of the ad which is preempting the start of the video.
Non-linear video ad: runs parallel to the video content so the users see the ad while viewing the content. Both linear and non-linear video ad products have the option of being paired with what is commonly referred to as a "companion ad". Companion ads: commonly text, display ads, rich media, or skins that wrap around the video experience, can run alongside either or both the video or ad content. The primary purpose of the companion ad product is to offer sustained visibility of the sponsor throughout the video content experience. Companion ads may offer click-through interactivity and rich media experiences such as expansion of the ad for further engagement opportunities. The video ad products that publishers and vendors sell to media buyers are generally a combination of linear, non-linear and companion ad products packaged together in a compelling way.
In MSN's video player example to the right, a linear video ad plays before the video content and is accompanied by a clickable, expanding 300 x 250 display companion ad product. In this example by heavy, a 1020(w) x 620(h) ad unit surrounds a video for the duration of the program and actually becomes part of the viewing experience.
Vibrant media's screenshot to the right shows a user mousing over a relevant word which triggers a relevant video advertisement.
This screenshot illustrates a non-linear overlay ad format with an accompanying companion ad to the right of the video. The core metric used for currency in digital video advertising is a "digital video ad impression", also referred to as a broadband video commercial impression as described in the IAB's broadband video commercial measurement guidelines released May 2006.
In 2006, the IAB's broadband committee and measurement task force developed a set of broadband video commercial measurement guidelines. Specifically, these guidelines determined at what point a video commercial is counted by defining a video ad as a commercial that may appear before, during, and after a variety of content including streaming video, animation, gaming, and music video content in a player environment. The key point to this guideline is that the video impression is measured at the latest point possible in the delivery of the ad creative to the user's browser, which is the closest opportunity to see by the user. The 2006 measurement guidelines are still the basis for the currency of video buys in 2008, specific to in-stream, linear and most non-linear video ad products.
In the future as the IAB embraces new non-linear ad formats into the mix of standardized video ad products, careful attention will be paid to determining the proper currency metrics for these new formats where appropriate.
Other non-currency measurement metrics exist today but because of the amount of innovation in the medium, none have become standard.
The buyers of digital video advertising include the interactive and traditional ad agencies and extend to major marketers, long-tail marketers and resellers.
Today, most buying of digital video is being done by interactive agencies on behalf of the major marketers. The sellers of digital video advertising range from the largest portals and media companies to the most specialized user-generated content sites on the web. The major online portals and broadcast media companies comprise the bulk of the video traffic and all have made strategic moves in both the content and technology space to insure their leadership positions. CPM-based pricing is the predominant model for buyers, particularly the In-Stream, Linear Ad format (pre-rolls, post-rolls, etc).
CPMs can span a wide range and are based on a number of factors including the quality of the site's content and users, targeting capabilities, and individual programming.
The CPA and CPC models are also available and are the predominant measures for in-text video advertising. These buying models are helping to bring large, direct marketing advertisers into digital video and long-tail marketers or "mom and pop shops" that have not had a place in the medium in the past. Many brand-based advertisers believe the CPA and CPC models lend accountability to brand-based advertising where other media have traditionally struggled.
There are many components of digital video advertising that have yet to be standardized, including creative units and new metrics. While the video industry is still relatively young, the IAB digital video committee recognizes the importance of simplifying the buying and selling process as an impetus for further long-term growth. Originally written by the Internet Advertising Bureau Digital Video Committee for IAB and first published on January 1st, 2008 as "A Digital Video Advertising Overview".
The IAB digital video committee is comprised of IAB member companies who are committed to creating and implementing a comprehensive set of guidelines, measurement, and creative options for interactive video advertising.
The International Advertising Bureau (IABUK) has recently set out a new set of best practices in regards to online video advertising so we thought with the extensive growth in the area you should know about what they had to say. On the internet there are different types of video clips and programmes, known as video content. The quality and length of video content will affect how receptive a consumer is to advertising in the same way as TV or written web pages. The below tables show what types of video people watch, why they watch it and how they watch it. Obviously, advertising around higher quality, professionally produced boutique, programme and film content will come at a premium cost because they have greater brand association and a large number of people from certain demographics will return regularly. Equally, if it’s the world premiere of the latest music video from the Kings of Leon or Lady Gaga, people will be more willing to sit through a short advert to watch it. You will be able to judge quality based on your own knowledge of the content, and on information provided by publishers and agencies.
On the internet, very short video content (clips of usually 1 – 3 minutes) is extremely popular, forming the bulk of video consumed. New data from comscore Video Metrix reports that in May of 2012, 84.5% of the US internet audience watched online video.
According to a Brightroll survey of US ad agencies, high prices, limited reach and lack of targeting are considered the top three growth hurdles.
To be effective, your online video marketing strategy should incorporate a healthy mix of video content that mirrors and compliments your other content marketing media.

The last report from LiveRail shows that average CPMs keeps growing bravely, and internet video consumption has been experiencing a massive growth of 40% and more. That's why it is so important that you keep up with both technical and creative aspects of online videos, and the new entrants in this field are those in-stream ads you can see on the big video platforms like YouTube or Hulu. This document is meant to build upon those guidelines by offering more detail on both the creative and technical aspects of video player and ad development.
These ads come in a number of sizes and shapes and typically run alongside or surrounding the video player. When frequency capping is practiced, publishers should disclose frequency capping practices to the buyers. The ad plays for a prescribed minimum length of time (usually length of video creative) inviting the user to interact.
Publishers have significant inertia around the companion sizes they use on their sites today.
The purpose of this minimum is to provide a core group of sizes so media buyers can rely on the portability of their creative.
One of the goals of the committee is to implement a comprehensive set of guidelines, measurement, and creative options for interactive video advertising. If you want a television commercial that doesn’t look embarrassingly amateurish and have it play on local or national television states during a time when people are actually watching, you have to spend a LOT of money.
Seventy-five percent of advertising agency executives say that online video ads are more effective than traditional television ads.
When you advertise to a television viewing audience, you’re speaking to a large and general audience.
Online video ads tend to be smarter, funnier, more shocking or inspiring than traditional television ads, which are seen by a wider audience and run a larger risk of causing offence. The Internet allows you to trace a customer’s buying journey from the moment they perform a search or click on a link and arrive on your site to the moment where they make a purchase. Here’s the clincher – only 24% of national brands aren’t even using online video advertising yet. Every day, agency trading desks like IPG Mediabrands and Xaxis are using software like ours to buy ads that appear on TV content – the difference is the content is now streamed on computers, tablets and more.
Advertisers are seeing the benefits of automated buying with VOD and it won't be long before they start demanding its use elsewhere. We are rapidly moving towards being able to effectively reach a consumer on whatever screen they are using at any given time. This will be the single highest drive behind the development of online video advertising, and could see it take the majority hold away from TV. TV continues to be the best way to reach mass audiences and delivering high impact, but online and mobile video are very strong compliments to it. The introduction of online GRPs into the digital lexicon demonstrates a shift in the way that digital marketers are approaching video advertising, and targeting TV budgets. Linear TV’s issue of wastage, which is currently still the norm, will become less acceptable over time. There is no doubt that the proliferation of different devices including mobile phones, tablets, living room entertainment systems, connected TVs, to name a few, are fundamentally changing how people access and engage with TV and video content. We’ll move further away from simply buying environments and focus on our specific audience and the story we tell to them. What we will see is a convergence of video media as it’s accessed through an ever increasing range of devices, it will be driven by data and differentiated by the context, not the environment in which it is viewed. Rather than take over from TV, online video advertising and TV will unite forces and become one.
Additionally there are interesting second screen opportunities that can link with on demand and linear TV, so there's a lot of activity in this area. The ability to watch video content on numerous devices will continue the growth of online video advertising.
In the short term online and offline planning and buying will continue the process of convergence. Video actually has the opportunity to complement TV as people can download video content to their phone that allows them to interact with TV programming. We are no longer talking about the invasion of their very own personal space but about an inclusion in a story about a magical product or about an impeccable service.
More than you might think!Multiple outcome ads which give the viewer the possibility to write the story of the characters by themselves.
The emotional draw of the television experience, consumers' adoption of broadband, and subsequent change in Internet content, capabilities, and consumption all contribute to driving this growth. To leverage and navigate the fast growing online advertising marketplace, a basic familiarity with web video industry standards like key terminology, perfomance metrics and video ad formats has become a critical necessity. An explosion of companies from networks to content providers made both premium and user generated video content available as new revenue streams. For a $1.65 billion purchase price, digital video was back on the front pages of every newspaper around the world.
While the 2006 definition of a video commercial is still relevant today, newer video ad formats have been introduced to compliment these emerging types of video experiences and environments. Traditional agencies and buyers of traditional media have lagged thus far, but are entering the marketplace.
To take advantage of incremental video advertising revenue many websites are now choosing to deploy in-text video advertising within their content pages.
Additionally, the committee will educate markets and agencies on the strength of broadband as a marketing vehicle. We’ll post a series of top tips that you need to know about online video display advertising.
You must think about the audience you would like to reach, and the type of video content you will advertise around to reach them. With online video, the higher the quality or the longer the clip, the more receptive a consumer will be to advertising. It is categorised as three types of video content called snippets, boutique and programmes and film. For instance, if someone chooses to watch a professionally produced episode of Lost on Channel 4’s website, they will be more receptive to an advert break at the beginning, middle and end of the programme, largely because they are used to it on TV.
If someone clicks to watch a home made clip on YouTube, they may be less likely to accept lengthy advertising beforehand because it doesn’t seem worth the wait.
Advertising around this short form content must be approached differently to long form content (programmes usually 15 – 60 minutes).
In May of 2012, over 10 billion online video ads were viewed, more than double the 4.6 billion in May of 2011. All buttons should be enabled throughout the video ad play, with the exception of Fast Forward.
It’s hard to drill down and find the small niche markets comprised of the exact kind of person who’s likely to become a customer.
Nielsen Online Campaign Ratings gives agencies a way to make direct comparisons to TV, and products like our own BrandPoint help them act on that reporting.
However, in order to achieve this, advertisers need to be buying their media programmatically and centralising the decision-making process. We will be creating a more effective dialogue and gaining a far deeper understanding of our viewing audience. What’s more, as consumers are plugging their digital devices into TVs to watch online video content, they’re also seeing online video ads on the biggest screen in their homes. Part of this process is that both TV and online video mediums need to learn from each other. Online video advertising will grow into a whole new area of creativity, which we have already seen the forerunners of this year with Vine and Instagram.
Let them swipe, click, tap, select, rearrange, place, position, whatever it takes to keep them mentally connected. Progress at agencies where digital buyers are working closely with traditional buyers presents a powerful model for the future. Think about what you want to achieve, short ads or different formats can be effective for your particular objectives. However what is and will always remain true is that consumers will always be interested in high quality entertaining content regardless of its source and delivery mechanic. The personalisation that advertisers are used to in the online world will sync with TV advertising.
Traditional TV has to keep up with the tracking and targeting capabilities of online video technologies.
This is the main perk of online video advertising: being played in devices which have a touchscreen.
Collections have always been a hit as people like to collect, gather and compare, even when it comes to ideas. And if they want to see it for themselves, they have to drop what they’re doing, find the television show you’re watching, and hope that the commercial airs again before the end of the show. The online video advertising sector has to find metrics that attract the attention of the TV planners and buyers who make their decisions on gross ratings points. They put this together to show how different sectors of industry are using online video advertising to promote their businesses, it also shows the length of the videos, the devices used to watch the videos, who the ads are targeting, how they are targeting and finally some performance stats – the stats are an index rather than percentages. It’s no surprise that many of these views took place on YouTube, with its wide video selection and more than one billion unique monthly visitors.
There are also mid-roll and post-roll video ads, which run just like they sound, during and after the video.In-banner video ads – These ads feature video content inside a standard banner ad unit. And with accessible tools to measure effectiveness, there’s no reason why you shouldn’t be able to optimize your way to the top.

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