For every digital ad celebrated for its vision, creativity, and sheer audacity, there are a dozen that lazily transpose ad concepts from print and TV, with zero effort to innovate. Given the frightening headlines and stats on ad blocking which plagues the industry today, brands simply can’t risk thinking old-school anymore.
Traditional attitudes are typically hard to shake, but surprisingly, they aren’t easy to erase in the digital advertising world as well. I’ve seen brands place too much value on the brand itself, so “digital advertising” to them, means slapping a logo on a banner ad. I’ve seen departments who are hell-bent on sticking to their scope of work instead of looping in other departments, no matter how much they would all benefit from a little collaboration. To really resonate with consumers, brands need to free the path for their creative to shine—and they can’t do that without doing some internal bureaucratic shifting.
San Francisco, CA: Ever wonder when it will be possible for a hotel chain to offer a 360 video tour of a travel destination or an automotive manufacturer to offer a 360-degree tour of their car’s interior, yet all within an ad that is personalized to the consumer? It just became possible.
Flite, a Creative Management Platform (CMP), unveiled the first advertising unit that couples a 360-degree video or image with all of the 1:1 personalization of a CMP. Similar to Facebook 360 Video or YouTube 360 video, Flite 360° supports video or images for 360-degree spherical viewing, and adds all of the available interactive elements and personalization components from
On the heels of its vertical video announcement, creative management platform Flite said it launched an ad unit for 360-degree videos and images, which includes the ability to personalize ads for consumers.
Likening it to Facebook 360 or YouTube 360 video, the brand said Flite 360° supports video or images for 360-degree viewing and adds interactive elements and personalization from the Flite platform.
In other words, users upload existing 360-degree videos or images into the Flite console and use Flite’s Creative Studio to create multiple versions of an ad and match those ads to consumers based upon factors like geolocation, demographics, income, psychographics or “however they are able to slice their data,” a rep said in an email.
Creative management platform Flite has launched what it calls a scalable ad-building tool for vertical video, or videos shot and/or viewed on mobile devices.
It’s the latest news that seems to give added legitimacy to vertical videos, which, per Greg Jarboe, president of content marketing agency SEO-PR, were once considered rookie mistakes because YouTube would center the videos and add black bars to the left and right.
The confluence of two aspects of marketing makes absolutely zero sense to me. First, soon after the advent of the first digital ad, the marketing world espoused that soon we’d be able to accurately target consumers and properly track marketing spend, and by extension, we’d no longer have to hear the famous John Wanamaker quote ever again. Second, over the course of the last decade or two, email marketing and CRM disciplines have been able to, more or less, make that a reality. Yet, somehow it’s never quite become a reality in the one part of marketing where it could most easily be achieved—digital advertising.
Earlier this year, an ad agency in Japan brought on a robot to work as its new creative director. Then in June, said robot came up with its very first ad, which attempts to sell breath mints by telling the tale of a shaggy dog who learns how to fly as glittering, minty-fresh dog breath spews from his mouth. While the "hiring" has attracted mockery, the situation is also eerily prescient -- the creative director role is growing more indebted to technology every day. I predict that in ten years, we'll still have people who technically have the creative director title, but the job itself will look entirely different.
San Francisco, CA (September 7, 2016) – Ever wonder when it will be possible for a hotel chain to offer a 360 video tour of a travel destination or an automotive manufacturer to offer a 360-degree tour of their car’s interior, yet all within an ad that is personalized to the consumer? It just became possible.
SAN FRANCISCO, CA (August 22, 2016) — Vertical video has quickly become one of the most talked-about media formats among brand marketers. However, transitioning campaign dollars to vertical video comes with a number of challenges: whether both horizontal and vertical versions of video ads need to be created, how to repurpose horizontal video to vertical, and the need to secure both ad design and video production teams, to make it all happen. No longer.
Flite, an industry-leading Creative Management Platform (CMP), today unveiled Velocity, the industry’s first user-friendly, scalable ad building tool for vertical video. Flite built Velocity to remove the complexities and excessive costs of creating vertical video ads, and allows brand marketers to build the ads themselves. Using existing brand assets and data from virtually any source, marketers can also add interactive elements and 1:1 personalization components from the Flite CMP platform.
Millennials and women prefer independent labels to designer and luxury brands, according to a study by creative management platform Flite.
Twenty-three percent of women and millennials are likely to buy independent labels, compared to the 14 and 19 percent, respectively, which are apt to purchase luxury brands. Luxury brands are thus tasked with ensuring these consumers switch their preferences as income begins to increase.
Publishers and advertisers alike are looking for ways to offer readers engaging and less-interruptive experiences with native/branded content. Some are experimenting with different ad formats and sizes like the Immersion Unit developed by Flite, a creative management platform.
The New York Times started using Immersion Units late last year and the format has quickly evolved as a go-to format that the Timeshas incorporated into premium ad offerings.
As described by Flite, the units are designed to deliver content-rich native experiences with non-standard ad sizes. These in-stream ad units are helping publishers increase engagement rates.
Have you dipped into Facebook's Canvas yet? If not, it may be time to give it a whirl. Flite CEO Giles Goodwin offers some pro tips on how you can make the most of the quick-loading, interactive ad format.
Unless you’ve been on extended sabbatical, you’ve undoubtedly read countless articles portraying digital video as more or less the Holy Grail of digital publishing. Without a doubt, mobile and video are no longer distinct, discrete strategies per se, but rather must be integral to everything you do.
Just examining video alone, the benefits are all there – higher engagement, robust video completion rates (VCR) and a much-needed shot-in-the-arm of additional revenue for publishers. Video ads often see up to three times more engagement than display counterparts. However, monetizing video can be challenging, especially when you look at some of the revenue splits. For example, video creators on YouTube keep about 55% of ad revenues, while musicians earn about a 70% cut from platforms like Spotify and iTunes.
However, with a bit of restraint and guidance, digital video may just be the silver bullet you’ve been looking for. Let’s take a look at six potential strategies to get you beyond the obvious solutions, and make digital video work better for you.
We all know there’s something wrong with the digital advertising industry. But like children pointing fingers after a playground scuffle, we’re all sure the problem started with someone else.
Whether it’s ad fraud, viewability, ad blocking or any of today’s thorny industry problems, we all have one refrain: “It’s not my fault.” Brands and agencies whine that networks and exchanges aren’t doing enough to separate human viewers from bots. Publishers complain that nefarious traffic creates distrust and drives CPMs down.
So your company has decided to go the way of Unilever and "zero-base" its marketing budgets. You Google the term, and what you see gives you chills. For example, The Wall Street Journal calls zero-based budgeting "an arcane-sounding financial tool that slashes costs by focusing on details as minute as how to make photocopies."
Flite was originally founded in 2006, and rebranded from Widgetbox in 2011. Can you tell us a little more about the evolution of the company over the years and how you made the foray into creative management for marketers?
We started the company focused on connecting content producers with consumers across the web. Larger publishers started to use our platform to produce ads with a better user experience and that led us to our current business.
Advertisers, and the marketing campaigns they execute, are often categorised as either branding or performance, with completely different strategies and objectives. Giles Goodwin (pictured below), CEO, Flite, speaks to ExchangeWire about how marketing shouldn’t be viewed so parochially as branding or performance; but, instead, that we have the capabilities to be able to achieve both.
We in the digital advertising space like to think of our slice of the industry as forward-thinking, ahead-of-the-curve and superior to “traditional” advertising. We’ll even spout things like, “digital is no longer a consideration – everything is digital.”
OK, great, only every day, digital advertising fails to connect with consumers and falls further behind.
The reason is simple: user experience, or in digital parlance, UX.
The New York Times and other publishers are on the leading edge of creative optimization of advertising formats, a sign that “creative matters now and people are excited about it,” says Flite CEO and Co-Founder Giles Goodwin.
Even as marketers spend $3.71 billion on programmatic media buys this year, consumers’ eyeballs remain elusive. Major players like Apple have introduced ad blockers for devices that effectively allow consumers to ignore pricey display ads.
In the digital advertising space, all we seemed to hear about for most of 2013 and 2014 was the ubiquitous term “programmatic.” Media agencies, brand marketers, ad tech companies and publishers all scrambled to define and understand what, for many, was a hard-to-grasp concept, especially for those with long tenures in the industry.