In the movie Shrek, Cameron Diaz plays Princess Fiona stowed away in a tower, who’s only chance of true love is to be rescued by a handsome Prince who can defeat the dragon.
Unbeknownst to the Princess, Shrek’s simply a hired gun. So when she says to him, “this is our first meeting, should it not be a wonderful, romantic moment?”
Shrek simply says, “sorry lady, let’s go.” He got what he needed (the Princess) and was on his way.
As it is with Programmatic media buyers & creative: just grab the Princess (creative) and let’s get going.
Creative…is often the forgotten ingredient in media.
The best programmatic media buyers? They’ll demand new sets and iterations of creative every 2-4 weeks. The media cost doesn’t change, but the impact of media performance can be dramatically affected by creative.
And when Programmatic media buyers keep the same creative running forever, it’s the dumbest thing in the world. They know it. Like losing weight, there are always excuses: not enough time, competing resources, too costly. Uh huh.
But even the tiniest change can impact creative. These two banners of our own look pretty much the same. Same copy, same images. The only difference: color gradient. What’s the impact?
The banner on the left received a 142% higher CTR in Programmatic retargeting, with only one change: the creative got a little gradient treatment.
All the normal components of programmatic media (daypart, audience segments, frequency cap strategy, viewability, and attribution of all these) can have a huge impact on Programmatic media performance. But a touch of the digital brush makes existing Programmatic media 142% more effective and makes buyers look like rockstars.
Rockstar Programmatic media buyers get past all the excuses just like succeeding at weight loss or strength building. They demand new creative which can give their media a 142% boost and more. Call it protein, creatine, legalized steroids. Call it what you will, but smart Programmatic media buyers get new creative frequently.
Most Programmatic media buyers, however, grab the goods and get on their way. A fool’s errand.
What About TV?
TV creative is even more arduous. Editing time, new voice-overs, approvals, ISCI codes, trafficking, production, talent, and cost. What a pain.
But the same is true in TV creative. Slight changes can have huge impacts. Progressive Auto Insurance is perhaps the best at keeping new creative flowing. If that creative doesn’t work when measuring TV attribution, they have no hesitation to dump ads costing $300k after several days.
Crazy? Not if you want results and ROI.
Even C3 Metrics advertises on TV, using our own TV attribution platform to optimize and measure. We’ve made 14 different commercials in eight months, and haven’t stopped. Here’s why:
In our last round of TV creative with a minor difference between spots, we saw a 210% difference in cost per lead. By removing the poor creative, we increased the performance of our TV media 210% without having to pay a dime more for the media. But it wouldn’t have happened if it wasn’t for our maniacal demand for new creative all the time. It may drive traffickers crazy, but it makes our ROI crazy good.
In TV, no longer do we “watch” TV…we go back and forth between our Smartphone or tablet while the TV is on (especially at commercial break). So now more than ever, to pull someone’s attention away from a mobile device during commercial break, TV creative has to be even more amazing. Particularly with audio, because audio is the stimulus that pulls a consumer’s attention away from their mobile device.
So whether you’re a Programmatic media buyer, a TV media buyer, or a CMO responsible for everything, you now know what rockstars do for unfair ROI advantage. Order more creative, tweak more creative, add more creative.
Uno mas por favor (and keep ’em coming).