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7/27/2019 Measuring the Impact of Contextual Advertising on Television
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Measuring the
Impact of Contextual
Advertising on
TelevisionTVinContext™ Is Where Reach Meets Relevance
JOHN CLIFTON
Turner Broadcasting, Inc.
john.clifton@turner.com
KATHRYN LARKIN
Turner Broadcasting, Inc.
katie.larkin@turner.com
DR. CARL MARCI
Innerscope Research
cmarci@innerscope.com
STACEY LYNN SCHULMAN
Turner Broadcasting, Inc.
stacey.schulman@turner.com
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Measuring the Impact of
Contextual Advertising on Television
TVinContext™ Is Where Reach Meets Relevance
Both reach and relevance can be eectively achieved throughinormed placement o contextualadvertising on television.
JOHN CLIFTON
Turner Broadcasting, Inc.
john.clifton@turner.com
KATHRYN LARKIN
Turner Broadcasting, Inc.
katie.larkin@turner.com
DR. CARL MARCI
Innerscope Research
cmarci@innerscope.com
STACEY LYNN SCHULMAN
Turner Broadcasting, Inc.
stacey.schulman@turner.com
7/27/2019 Measuring the Impact of Contextual Advertising on Television
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TVinContextTM Measuring the Impact of Contextual Advertising on Television
Table Of Contents
Introducing TVinContextTM 1
The Science of Priming 2
Conscious vs Non-Conscious 2
Devising a Research Plan 3
Online Self-Report Measurement: OTX 4
Biometrics & Eye Tracking Measurement: Innerscope 5
In Summary 7
The Authors 9
References 10
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TVinContextTM Measuring the Impact of Contextual Advertising on Television
With the average person exposed to 3,000-5,000
advertisements each day (Walker Smith, Clurman
& Wood, 2005), how do advertisers make sure their
messages break through the clutter? From a burgeoning set o
channel options per household to the promise o Internet-riendly
applications on the V screen, the rapidly changing television
landscape necessitates a new understanding o how ad placementcan enhance advertising eectiveness. One such approach,
contextual advertising, oers a unique opportunity or advertisers
to not only stand out, but also improve marketers’ ability to make
lasting impressions on potential consumers. Placing advertising
within an environment that mirrors or amplies the brand
and its message and increases its eectiveness is the essence o
contextual advertising.
Within the television marketplace, identiying appropriate
“contexts” or ads has been largely through “gut-level”
assumptions or isolated and customized opportunities. Yet
despite contextual advertising’s growing popularity among
the marketing community, researchers have struggled to
nd techniques or determining i contextual synergy can bemeasured in a meaningul and reliable way. Te growing science
o emotional priming (i.e. when a previous experience changes
how a later stimulus is perceived) oers a potential pathway to
understanding, measuring and validating the enhanced impact o
contextually relevant advertising on viewers.
Contextual advertising has been rooted in the print industry or
decades, but only recently has it been explored in the television
space. Running appropriate advertising creative adjacent to
relevant editorial has long been the “Holy Grail” o print media
planners and buyers – and or good reason. Te editorial content
creates a mood or mindset that primes a reader to internalize
a related advertising message. As publishers expanded romprint to online, so too did the propensity to match editorial and
advertising content. Businesses large and small, rom Google
(with its ability to target consumers based on indexing Internet
content) to Vibrant Media (with its ability to hyperlink words
within Internet text to relevant video-based advertising), have
been built on this premise. Tus, selling “relevance” has largely
become the province o publishers both on and oine.
Most television, conversely, is utilized primarily to obtain
broad reach. Te degree to which an advertiser can achieve
relevance in television has been limited to either sponsorship o
a ranchise, program or program segment (which may or may
not be organically synergistic) or wholesale integration o the
product within a ranchise, program or program segment. Inthe television world, much eort has been spent identiying the
“right” viewers and tweaking the “right” message, but the context
within which these “right” messages are delivered, until recently,
has been under-explored. Unlike both the print and online media
in which editorial and advertising content are oen optimally and
seamlessly co-mingled, enhancing television engagement with
contextually related messaging has remained a largely underuti-
lized and elusive construct.
o achieve maximal engagement with advertising in television
you need to sustain both reach and relevance. While special
occasion or event viewing like the Academy Awards and the
Super Bowl, achieve substantial reach – with many advertisers
producing custom commercials designed specically or these
events. However, these special occasions are limited in their
utility as events that occur only one time a year. Conversely,relevance can be obtained through association with endemic
content through ocused programming topics or on vertically-
programmed niche networks. But these opportunities are either
limited to a subset o advertising categories or are too narrow to
achieve the ull benet o television’s potential reach (Figure 1).
Contextual advertising on television thus requires a broadening
o the concept o endemic product placement to a wider set o
potentially synergistic content and advertiser associations.
Introducing TVinContextTM
Launched by urner Broadcasting, Inc. in Spring 2008,
VinContext™ oers advertisers an opportunity to run ad creative
adjacent to contextually relevant scenes across a large in-house
eature lm library. urner’s proprietary ad placement processbegins with identiying the premium programming content.
Ten, by digitizing the movie scene content into a customized
logging and annotation system, urner is able to meta-tag scene
context within each segment o the movie or relevance. Tis is
ollowed by the identication o optimal contextual categories to
custom match with advertiser products, brands and services.
VinContext™ identies three dierent types o contextual
placements: (1) Explicit, (2) Categorical, and (3) Attributive.
Explicit placements include a direct visual or aural mention
Niche
Networks
Broad Array of
Movie or
ProgrammingScenes &
Content
One TimeOnly Events
HIGH
R E A C H
R E A C H
ONE-TIME ONLYONE-TIME ONLY
CONSISTENT CONTEXTCONSISTENT CONTEXT
LOW
Figure 1. Instances of Contextual Placement by Reach and Context
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TVinContextTM Measuring the Impact of Contextual Advertising on Television
o the brand within the movie scene. For example, a characterin a movie drinking a Miller Lite beer ollowed by a Miller Lite
commercial. Categorical placements connect the brand’s
category to the movie without explicit mention o the product. An
example would be a character in a movie drinking an unidentied
beer, ollowed by a Miller Litead. Attributive placements connect
the brand values o the product with a scene in the movie. I
Miller Lite were trying to reinorce the values o “riendship” and
“raternity” in their ads, it might be placed ollowing a scene o a
group o male riends playing poker or attending a baseball game.
Movies provide a broad-based entertainment vehicle that
expands the potential reach beyond the niche o endemics (e.g.,
home improvement enthusiasts). However, unlike true endemicsin which the ethos o the entire programming content is matched
with an advertiser, VinContextM seeks to establish links
between contextually relevant individual scenes and ads. Would
these links be powerul enough to generate impact on potential
consumers? Te challenge or urner Research was to prove that
reach could not only be delivered with relevance, but that the
combination was measurably impactul. Te growing science o
emotional priming oered an opportunity to urther understand
the process o contextual advertising as well as inorm potential
novel measurement systems.
The Science of Priming
Te science o emotional priming (i.e. when a previous
experience changes how a latter stimulus is perceived) suggests
that the placement o ads adjacent to contextually relevant
television programming can enhance the impact o the commu-
nication on the viewer. Numerous academic studies on priming
have shown the ability o an initial stimulus to augment the
response o a target audience to the eects o a second stimulus.
For example, in one study, priming people with messages tocooperate in a task increased the likelihood they would cooperate
in a uture task (Bargh, et. al., 2001). In another study, smiling
aces used as a prime or Western audiences to rate Chinese
ideographs produced higher ratings o liking than the same
images preceded by a scowling ace (Murphy & Zajonc, 1993).
Similarly, children exposed to ood advertising that promoted
snacking while watching television consumed 45 percent more
ood during a snack period than children watching television
and snacking without the exposure to the ood advertising
(Harris, Bargh, & Brownell, 2009). Priming eects have also
been demonstrated to be long-lasting and independent o recall
(Cave, 1997). While the academic literature has exploded over theyears to demonstrate the eects o priming to short and discrete
stimuli, to date, media and marketing researchers have struggled
to nd techniques or determining i contextual synergy can be
measured in a meaningul and reliable way in television.
Te main mechanism o contextual advertising is emotional
priming, which involves a non-conscious, implicit and largely
associative memory process that occurs automatically and
without awareness. Te priming theory suggests that by exposing
audiences to particular images or words prior to a target message,
the response to the target message can be heightened by the
activation o non-conscious associations with thoughts and
eelings related to the target product (e.g., brand attributes). It is
well documented in the neuroscience literature that as much as85 percent o the processing in the brain occurs below the level
o conscious awareness (DuPlessis, 2006). Tough most media
and marketing research techniques examine explicit or conscious
memory (e.g., ad recall), modern neuroscience and psychology
posit that the majority o inormation-processing evaluations and
decisions that lead to behaviors, including purchase, are strongly
inuenced by relevant, previously processed, and implicitly
observed contextual cues.
Below the water line is a massive amount o
processing, a large portion o which is dedicatedto emotional responses and is where the “low road” pathways are primarily located. At theinterace between the two is a orm o associativeprocessing that is acilitated by priming.
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TVinContextTM Measuring the Impact of Contextual Advertising on Television
Conscious vs. Non-Conscious
Denitions o conscious compared with non-conscious or
below conscious processing range rom the philosophical to the
neuroscientic. raditionally, conscious processing generates
objective awareness while non-conscious processing is below awareness. Modern neuroscience has clearly determined
multiple routes o inormation processing in the brain, with
the dominant theory allowing or a primary path involving a
ast acting “low road” that works on a non-conscious basis. Te
second path is a slower acting “high road” that leads to higher
level processing in the neocortex or “new” cortex including areas
o the prerontal cortex that are uniquely human and uniquely
complex (LeDoux, 1994).
For example, the “high road” is utilized or processing conscious
decision making such as what to order or dinner. Te “low road”
inuences the choice, or example “steak”, and this inuence
comes rom a complex web o non-conscious associations that are
developed over the course o our lives, the most important beingthe eelings associated with “steak”, such as “good tasting”, “highly
satisying”, “a sign o wealth”, or “high protein”.
One common metaphor to represent conscious versus non-
conscious processing utilizes an iceberg oating in an ocean
(Figure 2). Te tip o the iceberg represents the proportion o
brain processes dedicated to conscious awareness and is the level
upon which “high road” pathways are primarily located. Below
the water line is a massive amount o processing, a large portion
o which is dedicated to emotional responses and is where the
“low road” pathways are primarily located. At the interace
between the two is a orm o associative processing that is
acilitated by priming.
It is likely that emotional priming with supraliminal (i.e.,
conscious) stimuli, such as contextually relevant movie scenes,
involves conscious and non-conscious processing. Te goal o this
present study is to use multiple methodologies including variants
o sel-report as a measure o subjective conscious responses
o “high road” processing and biometrics and eye tracking as
measures o objective non-conscious responses o “low road”
processing.
Given the rich and complex nature o television as a stimulus,there are many types o priming elements that need to be
considered or contextual advertising on V to work. Tese
include the requency o the presentation (one vs. many), the
duration o the presentation (brie vs. long), the relationship o
the target to the prime (close vs. distant), the duration between
the prime and the target (brie vs. long), and the level o awareness
generated by the prime (masked vs. unmasked). Due to the high
volume o content and rich nature o the potential priming
elements oered by movies, the VinContextM environment
oers an opportunity to explore and optimize the contextual
relevance o the stimulus by creating scene and advertising
pairs that can acilitate and enhance the eectiveness on both a
conscious and non-conscious level.
Devising a Research Plan
VinContextM depends on the ability o the selected scenes
to “prime” the viewer to internalize the ad creative more readily.
Tis presents a difcult research question. Given that most eec-
tiveness research is dependent on explicit or conscious measures
such as recall, are existing measurement tools suitable i they only
work on a conscious level?
With 15 brands on board in Fall 2008, urner Research launcheda multi-phase eectiveness research program that explored both
conscious and non-conscious response to contextual advertising.
Te research design purposely included traditional sel-report
survey methods or conscious measures provided by a leading
online research company (OX), and those within the emerging
biometric eld or non-conscious measures provided by a leading
biometric company (Innerscope Research).
On a conscious level, we measured recall, purchase intent,
notice-ability o the connection and brand attitudes. Additional
conscious measures were included with the goal o assessing
associations that were less direct and were likely at the interace
between conscious and non-conscious processing (see Figure 2).
Tese included measures o conceptual linkage and emotionalsynergy between the priming scene and the target ad. Non-
conscious measures included the neuroscience based use o
biometrics and eye tracking. Subjective variables were controlled
in a series o respondent screeners as well as a pre-survey in which
respondents rated ad creative independent o any contextual
environment.
For both conscious and non-conscious measurements,
a test group o participants were exposed to content rom
movies that would air on BS/N that included ull ad pods
Conscious
Non-Conscious
Associative
Figure 2. Iceberg Metaphor Representing Levels of Processing
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TVinContextTM Measuring the Impact of Contextual Advertising on Television
similar in duration and content to that which would appear
on television. Te ‘A’ position ad was contextually linked to a
scene in the previous segment in the test cell. A control group
was shown the same ad pod with the same ‘A’ position ad, but it
was ollowing a dierent scene in the same movie that was not
contextually relevant.
As anticipated, the complexities o using both conscious andnon-conscious metrics to quantiy and validate the impact o
largely supraliminal stimuli, yielded inconsistent results across
the study. Te highlights presented in this paper represent select
ndings that not only illustrate the power and complexity o
contextual advertising, but also begin to underline the intricacies
and nuances o partnering impactul selections o content and
advertising creative.
Online Self-ReportMeasurement: OTX
In addition to the traditional ad eectiveness measure o recall,
the sel-report survey was used to measure attributes, linkage and
conscious awareness o emotional synergy o an ad ollowing a
contextually relevant scene. Te survey, conducted by OX, was
conducted among 250 respondents per cell with each movie/ad
pairing having both a primed and unprimed cell.
As expected, the results rom the traditional surveys were
inconsistent, highlighting that conscious responses are not
always indicative o non-conscious learning. For example, while
respondents or one o the participating brands sel-reported
unaided recall lower in the primed group, the same primed group
accurately associated the brand with its key attributes at a higherrate than those who were in the unprimed group. Tis is just one
o a several examples in which this phenomenon presented itsel.
Te real story is in the benets to the advertiser or message
reception and purchase intent. In act, 61 percent o all tested
brands experienced a statistically signicant li in brand
value recognition when the ad was primed. Further, among
respondents who consciously identied contextual and emotional
links between the movie scenes and the ads, purchase consid-
eration more than doubled in the primed compared with
the unprimed group.
A good example o the incongruity with some o the insights
occurred with the test results or General Motor’s OnStar adver-
tisement that was contextually placed within the movie BourneSupremacy . Tis was an attributive placement in which the ad or
the automatic response system in GM vehicles was placed aer
an intense car chase and crash scene in the movie. Te conscious
measures o recall were higher or the ad among the unprimed
group compared to those who saw it aer the contextual scene.
Yet purchase intent and whether or not a connection was
noticed between the movie scene and ad was higher among the
primed group (Figure 3).
Although the recall, purchase intent, and noticed connection
had no signicant dierence or OnStar , those same respondentsdid have signicantly higher measures on the key brand attributes
or OnStar (Figure 4).
In addition to being asked about the brand attributes, respondents
were shown still images rom dierent scenes in the movie they
were exposed to and asked to choose which scene “stood out the
most”. Tey were then asked later in the survey to pick out whichadvertisement “stood out the most” aer being shown still images
rom the many ads that were shown. Respondents who chose
both the contextual crash scene and the OnStar ad as ‘stand outs’
had signicantly higher purchase intent and “notice connection”
scores (Figure 5).
Conscious Measures
Unp rim ed P rime d
34%
27%
56%
60%
31%28%
Unaided Recall Purchase Intent Noticed Connection
Figure 3. Self-Report Measures of Ad Effectiveness
U nprimed Prim ed
40%
43%41%
50%49%47%
49%49%52%
Safe Peace of Mind Reliable Responsible Trustworthy
54%
Circle indicates significantly different than comparative group(s) at 90% confidence.
Figure 4. Self-Report Measures of Associations to Brand Awareness
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TVinContextTM Measuring the Impact of Contextual Advertising on Television
Tis suggests that when the association between the scene and
the ad is strong, purchase intent increases.Another associative measure tested in the sel-report survey
involved asking respondents to state what emotions or moods
they were eeling aer seeing the contextual scene and then
asking the same question regarding the target ad at a later part o
the survey. Tose participants that picked the same emotion or
both the scene and target ad also had signicantly higher recall,
purchase intent and noticed connection scores (Figure 6).
Biometrics & Eye TrackingMeasurement: Innerscope
o better understand the eectiveness o contextually-placed
ads on television on a non-conscious level, urner partnered with
the leading biometric research company, Innerscope Research, totest the impact o priming in contextual advertising on a non-
conscious level. Biometric measures have a proven track record
o success in measuring non-conscious emotions in advertising
and are increasingly being used to measure television advertising
eectiveness (Poels & Siegried, 2006).
Newer technologies inormed by neuroscience, including
biometric measures traditionally used in the medical and
psychology elds along with state-o-the-art eye tracking to
measure visual attention were employed. Innerscope’s biometric
measurement combines respiration, heart rate, skin conductance
and movement to produce a non-conscious emotional engagement
score or each second o the video content viewed. Biometric data
was collected using a garment based system with wireless sensorsembedded into a light-weight vest worn underneath regular
clothing. Te our channels o biomeasures were time-locked to
the stimulus and analyzed using a patent-pending methodology
that combines physiological synchrony with a measure o
physiological intensity that produces a measure o audience
engagement (Marci, 2006).
For the purposes o this study, synchrony is dened as the
degree to which the biomeasures o the target audience uniormly
change when exposed to a media stimulus. Tis corresponds with
the aggregate level o attention in the audience. Tis measure o
synchrony is combined with the level o intensity , dened as the
cumulative strength o the response o the biomeasures. Tiscorresponds with the aggregate emotional impact on the audience.
Tus, the denition o biometric response in this study is the
combination o audience synchrony (attention) plus intensity
(emotional impact ) on a non-conscious level. Te emotional
engagement score or the target ad aer viewing a contextual
scene was compared to the response ollowing a control scene.
Eye tracking xation scores were also calculated by Innerscope
or a subset o the test and control groups to have an added
measure o audience visual attention to the screen in the primed
vs. unprimed conditions.
Innerscope recruited eighty (80) males and emales (age 21-49)
to a central location in Boston, MA in December 2008. Audiences
watched a combination o primed and un-primed movie segmentsand advertising pods. Respondents were screened to include
regular television viewers that were non-avoiders o the test
Unpr im ed Pri med
86%
92%
Aided Recall
48%
71%
Noticed Connection
19%
42%
Purchase Intent
Circle indicates significantly different than comparative group(s) at 90% confidence.
Figure 5. Scene & Ad Standout in Self-Report Measures
Unprimed Primed
Secure88%
89%
Aided Recall
53%
68%
Noticed Connection
20%
46%
Purchase Intent
Circle indicates significantly different than comparative group(s) at 90% confidence.
Figure 6. Emotional Congruency Between Scene & Ad inSelf-Report Measures
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TVinContextTM Measuring the Impact of Contextual Advertising on Television
movies. Again, a ew examples rom the research are highlighted
to illustrate the impact o contextual advertising.
Overall, results showed the immediate impact on emotional
engagement using the biometrics as a measure o non-conscious
response in the primary portion o the study was signicant.
Compared with the unprimed experience, the average emotional
engagement score increased 20% (8.3 points). In addition,while not statistically signicant due to the smaller sample size,
the eye tracking xation scores showed a 9% increase in the
primed compared with the unprimed experience. Furthermore,
a contextually placed advertisement likely benets rom the long
term eects o priming, which have been documented to last up to
48 weeks (Cave, 1997). o urther illustrate the results, examples
rom each category will be highlighted.
Te rst priming scene and ad pairing example is explicit,
meaning there was a clear reerence to the brand and/or product.
In this case, the scene involved a Miller Lite ad ollowing a scene
in the movie Te Guardian starring Kevin Costner and Ashton
Kutcher (Beacon Pictures, 2006). Te priming scene eatured
the two stars in a local bar with multiple neon “Miller Lite” signsposted in the background. Tis is a clearly an explicit prime,
with the brand name prominently eatured multiple times.
Results showed an increase in biometrically based emotional
engagement score rom an unprimed level o 74 to a primed
levelo 87 (Figure 7).
Te second priming scene and ad pairing example is categorical,
meaning there was a clear and explicit reerence to the category.
In this case, the scene involved the main characters, Will Ferrell
and Mike Ditka in Kicking & Screaming (Universal Pictures,
2005), drinking coee in a coee shop, ollowed by an ad or
Folgers Coee. Tis example o a scene eaturing the category o
the product/brand resulted in an increase in biometrically based
emotional engagement score rom an unprimed level o 83 to a
primed level o 88 (Figure 8).
Te third priming scene and ad pairing example is attributive,
meaning an attribute o a product or brand was prominently
eatured. In this case, the scene involved a car accident with Matt
Damon escaping rom a late scene o the Bourne Supremacy
(Universal Pictures, 2002). Te scene was ollowed by an ad
or OnStar eaturing an unknown actor in a car accident. Tis
example o attributive priming resulted in an increase in biomet-
rically based emotional engagement score rom an unprimed
level o 80 to a primed level o 83 (Figure 9).
As mentioned, the eye tracking results were directional, with
the majority o examples tested showing an increase in visual
attention to the target ad overall. As an example o how priming
can increase visual attention to the brand, a heat map shows visual
xation during the branding moment or the OnStar attributive
Innerscope
Database
Average74
87
Unprimed Primed
79
Emotional Engagement Score
Figure 7. Non-Conscious Emotional Engagement Score in Primed vs.
Unprimed During Explicit Pairing
Innescope
Database Average
83
88
Unprimed Primed
79
Emotional Engagement Score
Figure 8. Non-Conscious Emotional Engagement Score in Primed vs.
Unprimed During Categorical Pairing
InnerscopeDatabase
Average
8083
Unprimed Primed
79
Emotional Engagement Score
Figure 9. Non-Conscious Emotional Engagement Score in Primed vs.
Unprimed During Attributive Pairing
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TVinContextTM Measuring the Impact of Contextual Advertising on Television
pairing during the primed compared with the unprimed viewing
experience (Figure 10).
As evidenced in this gure, there is more visual attention (i.e.,
a larger area o red representing high xations) on the branding
moment or the primed compared with unprimed participants.
Tis suggests that emotional priming is working to direct visual
attention in addition to increasing emotional response.
In Summary
Te results o the present study strongly suggest that contextual
advertising on V has a measurable eect. But while the conscious
response can deliver higher recall, it is not always indicative o non-conscious processing and thereore not the best indicator o
overall impact. Te increased emotional impact as measured by
the biometric response, reects greater internalization o brand
attributes and messaging. It is possible that this is a better indicator
o overall eectiveness, as it reects the underlying non-conscious
processes that are the building blocks o brand associations and
uture behavior. In general, the stronger a respondents’ emotional
connection to both the scene and the ad, the stronger the results.
Identiying and creating contextual opportunities or advertisers
is neither a simple nor instinctual process. Priming elements
that create “linkage” are layered, subtle and oen reliant on
combinations o contextual cues, and ideal pairings encompass
visual, aural and conceptual congruency. Te categorical
placement within the lm Kicking & Screaming , or example,
illustrated how the priming eect was maximized when the
scene created a need state that the ad responded to and ullled
with its product or service. Te scene ocused on the characters’
strong emotional “need” or coee and was ollowed by an adver-tisement or Folgers. Strong results were also achieved across
multiple measures when cognitive and emotional balance was
created between the contextual scenes and targeted ads. In the
attributive placement o GM On Star , the cognitive awareness o
the crash scene in Bourne Supremacy ollowed by the emotional
drama o the ad creative to showcase the product’s saety eatures
delivered this balance. When combined with the extensive
priming literature and our growing knowledge o non-conscious
emotional processes in advertising, the present study oers
sufcient evidence to prove that airing an advertisement with
a properly identied contextually relevant priming scene can
increase the eectiveness o that advertising signicantly.Examples are given o li in multiple metrics with some
interesting nuances in all three types o contextual placements
(i.e., explicit, categorical and attributive). Te results suggest
there are opportunities to rene our methodology or identiying
scenes and pairing ads or urther optimization. For example,
highly explicit primes may be more eective when placed prior
to or urther away rom the priming scene so that the viewer
eels the priming was not too orced. Some attributive primes
may be too subtle to connect with a viewer, consciously or non-
consciously, while categorical primes generally deliver a more
balanced association. Tis learning has particularly helped urner
to develop more layered levels o detail in our meta-tagging
processes as well as greater coordination with clients in selectingappropriate creative.
Activating conscious and non-conscious attention and
emotional response is the very essence o audience engagement
and denes relevance to viewers. Increasing engagement via
contextual advertising and priming mechanisms is a “win-win”
or advertisers as cognitive processing (i.e. attention) is oen
associated with awareness o the target ad, while emotional
processing is oen useul or building positive brand associations
(i.e. eeling good about the brand). Tus, contextual advertising
Unprimed Primed
High
Medium
Low
Figure 10. Eye Tracking Fixation on the Brand During Primed vs.
Unprimed Viewing Experience
Te increased emotional impact as measured by the biometric response, reects greater
internalization o brand attributes and messaging.
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TVinContextTM Measuring the Impact of Contextual Advertising on Television
has the ability to improve overall ad attention, non-conscious
emotional response and brand associations while uniquely
enhancing viewing and V ad perormance. Given the directional
evidence rom academic research that priming eects can last or
several months (Cave, 1997), it is possible that the increased ad
eectiveness oered by contextual advertising may also last well
beyond the experience o the ad resulting in additional benet toadvertisers.
Te results o the present study suggest that reliance on
conscious measures alone is not sufcient and that new metrics
are needed to understand the eectiveness o contextual
advertising o the type oered by VinContext™. Tis should not
be a surprise when one considers that both conscious and non-
conscious processing are involved in consumer purchase behavior
(Figure 11). Tus, metrics that dene eectiveness should utilize
both conscious and non-conscious measures. Given that media
and market researchers are well aware o consumers’ inability to
consistently and accurately report on their own behavior (Stelter,
2009), the time is right or expanding beyond traditionalmeasures. Non-conscious measures derived rom biometrics and
eye tracking oer an opportunity to capture a more complete and
comprehensive view o consumers as they engage with advertising.
In conclusion, the overall propensity to drive increased
advertising impact was very clear. Using the priming concept
adroitly, VinContext™ was able to:
• Boost viewer engagement with advertising by creating
optimal visual, aural and conceptual links
• Reinorce the brand as a member o a particular category
and thus strengthen its position within the viewer’s consid-
eration set
• Align the brand with one or more desirable benets and/or
attributes in the viewer’s mind.
In short, both reach and relevance can be eectively achieved
through inormed placement o contextual advertising on
television. While there is a great deal more to be learned and
explored, contextually matching relevant television programming
with advertising creative needs to consider both conscious and
non-conscious processing or maximum impact.
Conscious
Non-Conscious
Aw ar eness, Reca l lUnder standing
Engagemen t
C o nsi der ation, I n t e n t
P ur chas e
Traditional Consumer Decision-Making Funnel
Figure 11. Relationship between Purchase Funnel and Conscious vs.
Non-Conscious Processing
Activating conscious and non-conscious attention
and emotional response is the very essence o audienceengagement and defnes relevance to viewers.
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TVinContextTM Measuring the Impact of Contextual Advertising on Television
The Authors
John Clifon is a Senior Director o urner Entertainment Ad
Sales Research and Sales Strategy. John joined urner in July 2007
and has a well-rounded broadcast research background having
worked on both the agency and network side o the business in thecourse o his career. Prior to joining urner, John was the Director
o Broadcast Research at media agency OMD, where he oversaw
the agency’s positioning on all matters relating to broadcast
research, including national and local television and radio. Prior
to OMD, John held the position o Director o News Audience
Research at NBC where he worked in programming and ad sales
research or NBC News properties. Beore that he worked at CBS,
where he was involved in sports and news audience research. He
started his career in research at rep rm HRP beore moving to
the agency side or the rst time at Ketchum Advertising. John
graduated rom New York University with a B.A. in Journalism/
Mass Communication with a concentration in Media Analysis
and Criticism.
Kathryn Larkin is Senior Vice President o urner Entertainment
& Sports Ad Sales Research and Strategy. Trough partnership
with sales management, she develops innovative, compelling
research analysis and strategic insight to drive revenue and
eectively position urner’s Entertainment Networks (BS, N
and truV) and urner’s Sports properties (NBA, MLB, Gol and
NASCAR) in the marketplace. Kathryn has been instrumental in
the success o the Entertainment sales division and the industry
wide leadership position held by urner Entertainment Networks.
She spearheaded many important sales initiatives and innovations
including the commercialization task orce, broadcast alternativestrategy, and VinContext™. A true television and urner veteran,
Kathryn joined urner Broadcasting Sales in 1982.
Dr. Carl Marci is Co-Founder and CEO o Innerscope Research.
He is on aculty at Harvard Medical School and is a ormer
Visiting Lecturer at the Massachusetts Institute o echnology
(MI) Media Lab. Dr. Marci received his M.A. in psychology at
Oxord University as a Rhodes Scholar and then completed his
M.D. with honors at Harvard Medical School. He has extensive
training in biometrics and neuroscience through two National
Institutes o Health ellowships. Innerscope has been eatured in
the Boston Globe, New York imes, Wall Street Journal , Advertising
Age, Media Week, Research Magazine, Popular Science and theInternational Herald ribune. Dr. Marci has recently presented
at the Advertising Research Foundation (ARF), Association o
National Advertisers (ANA), the Cable & elecommunications
Association or Marketing (CAM), and the World Advertising
Research Conerence (WARC), and was a guest editor o the
International Journal o Advertising Special Issue on Advertising
and the Brain. He has published numerous articles in science and
trade journals, as well as given lectures nationally and interna-
tionally.
Stacey Lynn Schulman is Senior Vice President o urner
Entertainment Sales Research, working closely with David
Levy, president o urner Entertainment Ad Sales and urner
Sports, and with Ad Sales executive management teams or
Adult Swim, Cartoon Network, truV, BS and N, as well
as urner Sports & Entertainment Digital research. Prior to
joining urner in 2007, Schulman spent 10 years working orthe Interpublic Group o Cos. in a variety o executive research
and marketing positions including president o the company’s
Consumer Experience Practice. From 2003-06, Schulman
worked on worldwide accounts as executive vice president o
global research integration or Initiative, a media agency within
the Interpublic amily. From 1997 – 2003, Schulman served as
Senior Vice President, Director o Broadcast Research, helming
Initiative’s seminal research on consumer behavior, interac-
tivity and media convergence with MI. Widely respected in
the industry, Schulman has been routinely quoted in trade and
consumer media and has traveled the world speaking at global
research and marketing events such as the ARF, European Society
or Opinion and Marketing Research (ESOMAR), MIPCOM,the European Group o elevision Advertisers, CAM, National
Association o elevision Program Executives, and IMedia. Her
work with MI was awarded “Best Paper Honors” at ESOMAR’s
Worldwide Measurement Conerence in Shanghai in 2005. In
the United States, Schulman has been honored with numerous
industry awards, including her selection as a “Wonder Woman”
in the cable industry by Multichannel News, a “Media All-Star”
by Mediaweek, a “ Media Maven” by Advertising Age, and a “New
York Rising Star” by Crain’s New York Business. In 2004, Stacey
was inducted into the American Advertising Federation (AAF)
Hall o Achievement, the rst research proessional to be inducted
in the AAF’s history.
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TVinContextTM Measuring the Impact of Contextual Advertising on Television
References
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Measuring the Impact of Contextual Advertising on Television
Turner Broadcasting, Inc. | http://turner.com Innerscope Research | http://innerscoperesearch.com
Contact Information
Turner Broadcasting Sales, Inc
A Time Warner Company
212.275.6000
http://www.turner.com
One Time Warner Center
New York, NY 10019
Innerscope Research
617.904.0555
http://innerscoperesearch.com
98 North Washington St, 2nd Floor
Boston, MA 02114