Edward Fuller 🔜 Advertising Week New York

Roku appears to be gaining positive momentum, recently announcing a 14% jump in streaming households in Q2 & this latest report from Pixalate shows it with a dominate position in the global connected TV (CTV) programmatic advertising market. Another big winner was Apple, which increased its share of programmatic CTV ads delivered to the Apple TV from 5% to 13% over the last year, leapfrogging Amazon's FireTV. According to Pixalate measurement, Samsung Electronics share fell 45%, while arch rival LG Electronics grew its share 68%. To compile the data, Pixalate says it analysed programmatic advertising activity across 100k+ CTV apps & nearly 6bn global open programmatic ad transactions in Q2 2024.

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The Advertising Standards Authority’s latest report on children’s exposure to age-restricted content in linear TV has some fascinating stats: 🍸 Exposure to alcohol advertising on TV decreased by 80% between 2010-2023 🎲 Under-16 exposure to gambling ads on TV has decreased by 40% since 2010 🍫 Exposure to HFSS product ads on TV decreased by 67% in the same period But that’s for linear, which continues to be less and less relevant in youth content consumption: the report highlights how habits have continued to shift, with a 74% decline in TV viewership from under-16 audiences in the last decade! 📺 Where has their viewership time gone? To a digital media landscape that’s more fragmented than ever before. SuperAwesome is the trusted partner for brands looking to meet their audience where they are and engage them safely and effectively online. For example, SA helps customers ensure their digital ad creative is appropriate by vetting it for compliance with our ad standards, which are modeled after the ASA's CAP Code 🤝 If you’d like to learn more about how we’re making the internet safer for the next generation get in touch, and to check out the ASA report, follow the link below ⬇️ https://lnkd.in/ei-7qaEn #SuperAwesome

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🤔 How are sports teams leveraging AI to create new digital assets for sponsors to activate? 💰 In a recent thought piece, Jonny Katanchian, digs into how teams – like Brentford FC – are leveraging AI to shift away from legacy sponsorship activations and create a new wave of monetisable, digital content at scale. 📺 From completely augmented broadcast feeds, to matchday highlights and dynamic social creative, AI is creating a world of new sponsorable storytelling opportunities. 𝐋𝐞𝐚𝐫𝐧 𝐦𝐨𝐫𝐞 👉 https://bit.ly/3L5blMa #fanengagement #sportssponsorship #AIinsport

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The intersection of sports and entertainment is rapidly evolving, with sports investment becoming a major arena for alternative asset growth. Billionaires, large conglomerates and businesses are now leveraging sports franchises to drive significant returns, as seen in Liberty Media’s transformation of Formula 1. With content like Drive to Survive, they’ve cracked fan engagement by combining storytelling with real-time experiences, illustrating the critical role of media in modern sport. As tokenization and blockchain open new investment and fan participation models, the next wave of sportainment will be immersive, engaging, and profitable. OutDrive GP is harnessing and building these trends to build the world’s first global sim racing league—an innovative merger of motorsport and esports. We aim to revolutionize fan engagement and participation, fueling the burgeoning sportainment ecosystem. #SimRacing #SportInvestment #Sportainment #Innovation #Esports

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So far, the 2020s have been a good decade for the music publishing industry, right? In MIDiA’s newest music forecast report “MIDiA Research 2024-2031 global music publishing forecasts | Managed change” we cover: 📈How revenues have continued to grow, streaming royalty rates have improved – spurred by favourable royalty rates board rulings in the US – and institutional investment has flowed into publishing catalogues, even after rising interest rates. Covid lockdowns were a speed bump, decimating the live and background components of performance royalties, but the effect was temporary, with live’s post-Covid rebound being particularly strong. 🎤 That throughout the earlier stages of the streaming era, publishing was something of a back seat passenger, with the agenda set by labels and DSPs. A state of affairs reflected in the comparably small share of revenues allocated to publishing royalties. But as the market matured, publishing rights found their voice. Favourable rates, board rulings in the US, active lobbying efforts, and increasingly effective licensing strategy from CMOs and publishers have had the combined effect of increasing publishing’s share of the streaming economy –– with further improvement likely. 🚀 Publishers have also proven able to carve out a favourable space in the new, emerging sections of the streaming economy. The ‘non-DSP’ deals with platforms like TikTok, Meta, and Snap provide for a higher share of royalties flowing to publishers than for standard DSP deals. In the 2010s, publishers, rightly or wrongly, acquired a reputation for slowing innovation. Now they are spearheading it. 🔗 https://ow.ly/FMcJ50SPeE3

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