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.

[email protected]

KATHRYN LARKIN


[email protected]

DR. CARL MARCI

Innerscope Research

[email protected]

STACEY LYNN SCHULMAN


[email protected]



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


[email protected]

KATHRYN LARKIN


[email protected]

DR. CARL MARCI

Innerscope Research

[email protected]

STACEY LYNN SCHULMAN


[email protected]



page ii

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

Jump to: Cover | TOC | Authors | Reference s | End



page 1


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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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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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




page 4


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




page 5


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


Figure 5. Scene & Ad Standout in Self-Report Measures

Unprimed Primed

Secure88%

89%

Aided Recall

53%

68%

Noticed Connection

20%

46%

Purchase Intent


Figure 6. Emotional Congruency Between Scene & Ad inSelf-Report Measures




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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



Unprimed During Categorical Pairing

InnerscopeDatabase

Average

8083

Unprimed Primed

79



Unprimed During Attributive Pairing




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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.




page 8


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.




page 9


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.




page 10


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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

Measuring the Impact of Contextual Advertising on Television

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