I spoke with Susan Bratton, CEO of Personal Life Media, the other day and Susan told me about an exciting new widget that they are launching. Normally, I wouldn’t pay much attention to a new widget, but this one seems really interesting because it introduces a new distribution mechanism for downloadable media that has the potential to make downloadable media much more attractive to advertisers.

By way of background, Susan told me that they were working on ways to connect more effectively with brand advertisers and found real interest from the marketers in putting content from Personal Life Media right on the brand marketers’ web sites.  That led to the development of Personal Life Media’s new brandable player widget which can be loaded with up to five RSS feeds for audio podcasts and customized by color and size to match any web site.  Just like most widgets, the player can be embedded in blogs, Facebook, Myspace and anywhere else you want to use it.  Not only can you customize the player, the widget enables the the brand to be the exclusive sponsor of the podcast content in the customized player.

Imagine the new pitch to advertisers, we give you content you can use on your site, you get your own branded player that your enthusiast supporters can reuse and you get to the be the exclusive advertiser on content played through the branded player.  This gives the marketers some really interesting new ways to engage visitors to the site and gives Personal Life Media the ability to reuse its content on other players with different marketing programs.

At launch, they will have a number of brands using the widget including

• AccuQuote has integrated their “Life Insurance Podcast” along with four shows from Personal Life Media including “Aging Gratefully,” “GreenTalk Radio,” “Living Green” and “Coaching by the Life Coach.”  The player can be found on their multimedia page and their corporate blog.
• CardScan is distributing “Evolutionary Sales,” “Conscious Business,” “Money, Mission and Meaning,” and “Coaching by the Life Coach” in their customized player.
• Oceanus Naturals is providing “Just For Women,” “Tantra & Kama Sutra,” “Sex Love & Intimacy,” “Expanded Lovemaking” and “Fearless Lover” to site http://oceanusnaturals.com site visitors.
• Sinclair Institute is offering a series of five relationship shows on their Sinclair University site at http://www.bettersex.com/t-bsu-university.aspx.
• Zen by Design, makers of meditation chairs, is featuring “Buddhist Geeks,” “The New Man,” “Living Dialogues,” “Living Green” and “GreenTalk Radio” on their site at http://zenbydesign.com along with a group of relationship shows on http://tantrachair.com.
• Music discovery publisher IndieFeed is using two customized players to distribute their 7 weekly music shows on Facebook and MySpace in addition to offering the widget for their fans to get and share for free at http://indiefeed.com.

Even more exciting is that Personal Life Media is making this brandable player available to other podcasters. Here’s a sample of the player I built using their widget builder.

Powered by Personal Life Media

According to the press release:

The widget creator at http://personallifemedia.com/widget is free for any company, podcaster or content fan. Fees may be involved if a marketer wants to offer shows from Personal Life Media that exclusively feature the brand’s messages. Otherwise, the shows will feature existing sponsor’s ads.

Three simple steps customize your player:

1. Select up to five RSS feeds for audio podcasts.
2. Customize the player’s color and background, pick a size and add a logo.
3. Click “Get” and insert it directly on a blog, website and more than 20 social media services.  Any time a visitor to the brand’s site wants to “get” the widget for their own site, blog or social media page, the sponsor’s logo will be displayed along with the podcasts that include the sponsor’s marketing messages.

I look forward to seeing how this changes the way marketers think about downloadable media.

If you follow digital media, you’ve heard a lot about the importance of creating and measuring audience engagement (Forrester’s recent marketing conference centered on engagement - see our posts). After all, the difference between broadcast media and interactive media is the interaction part. But most engagement conversations focus on audience interaction with linear content – viewing, commenting, and sharing.

Imagine instead that as a member of the audience you were part of the action – you enter the video, talk to the characters, and they talk back to you. Or that the story was about you and your family members. Or that the characters in commercials cared about what you have to say instead of just shouting at you.

We’re not as far as you might think from this kind of convergence between media, video gaming, and artificial intelligence. At the most recent Digital Hollywood conference, Andrew interviewed Jonathan Strietzel, Founder of BigStage and Peter Hodge, CEO of Virsona, whose companies offer intriguing components of this future that have the potential to create big value for brands and media companies today.

BigStage’s technology allows users to create and integrate life-like 3-D avatars of themselves into movies, videogames, commercials, and other digital video content, using just three digital face photos. Virsona offers artificial intelligence technology that can recreate and automate any personality after just a couple of weeks of training – allowing characters to personally interact with an unlimited number of audience members.

If you are part of a brand, media, or other company with the vision to imagine what moving from linear to interactive content could do for your business, these interviews with BigStage and Virsona are must-listen conversations.

Technorati Tags: Interactive Media, Big Stage, Virsona, Advertising

In Digital Podcast 52, Andrew interviews Jonathan Strietzel, Co-founder and Chief Creative Officer of Big Stage, whose breakthrough technology allows users to create and integrate life-like 3-D avatars of themselves into movies, videogames, commercials and other digital video content using just three digital face photos.

Imagine if you and your friends could star in a music video, famous movie clip, or commercial as realistically as if you were around for the shoot. Jonathan describes the company and the potential that its technology has to transform advertising and the audience relationship with movies, television and videogames.

 

 Digital Podcast 52 [23:00m]: Play Now | Play in Popup | Download (7097)

In the interview, Jonathan describes his early start as a wunderkind discovered by SoCal VCs (0:00), his insight into the coming importance of personalization as he discovered the technology behind Big Stage (2:45), and how he helped move the technology to become consumer internet capable and fundable (7:05).

He talks about the current business, his monetization model through brands and content partners based on the technology’s dramatic impact on advertising effectiveness (11:35), and what the big media networks are seeing in terms of monetization and CPM rates (16:12). He also describes privacy considerations (17:40) and the other cool non-advertising stuff, like videogaming and short internet adventures, that Big Stage will be making possible (19:05).

Jonathan Strietzel is co-founder and chief creative officer of Big Stage. He brings 10 years of experience as an entrepreneur in the entertainment and technology industries, including founding Stritz Studios, a boutique special effects studio. He has also invented multiple systems for delivering digital advertising and currently holds a U.S. patent for his work in particle-based advertising. In addition, Jonathan has worked with numerous TV studios and Fortune 500 companies, including developing the highly publicized online clue delivery system for NBC’s “Treasure Hunters.” Jonathan graduated from Chapman University with a Bachelor of Science degree.

Technorati Tags: Digital Hollywood, Big Stage, Jonathan Strietzel, Virtual Reality, Avatar, 3D

You’ve seen the scantily clad cocktail waitresses in the casinos.  The sexy woman posed on the hood of a car.  We know that sex gets men’s attention.

But does sex actually sell?

A new research study by Brian Knutson of Stanford suggests the answer is yes; at least, that heterosexual men are more likely to take financial risks after being subjected to positive emotional stimuli—in the case of the study, erotic photos of a man and woman.

Why should digital marketers and publishers care?

As digital content and advertising become increasingly intertwined (here’s one of many posts on that topic), and marketers and publishers get better about measuring the effectiveness of their efforts (read more in our mini-eBook on social media performance management), we can expect the trend toward sex in advertising to be further invigorated (pun intended), at least in advertising that targets men.

And as social media becomes an increasingly effective marketing tool, we can also expect more of the digital equivalent of those cocktail waitresses.  The Stanford study alluded to the particular relevance in online gaming (gambling) businesses, and I noticed the effect firsthand when checking out XuQa.com, an online casual gaming community co-founded by Murtaza Hussain, co-founder and CEO of PeanutLabs and the subject of a recent DigitalPodcast interview.  Many of the most popular gaming rooms in XuQa are hosted by very attractive women (or at least hosts with photos of very attractive women), and the formula seems to be quite successful there.

By the way, for our female readers (my wife included) who by now are gloating over the superiority of your half of the species, beware:  Mr. Knutson is planning to test women’s responses in the future.

Technorati Tags: Brian Knutson, Erotic Content, Stanford University, Sex

The Association for Downloadable Media, an organization whose purpose is to help provide advertising and audience measurement standards for episodic and downloadable media, announced today a proposal for advertising standards at Ad:Tech San Francisco.

A cross section of podcasters, agencies, device manufacturers and others interested in monetizing downloadable media have developed the proposed standards.

Why do we need standards for downloadable media?

• Lots of podcasts, lots of sponsors, lots of options and confusion
• Like IAB display ad unit guidelines for podcasts
• Allow sponsors to create 1 advertisement for multiple podcasts

The panel believed that the standards should be

• Simple
• Inclusive
• Acceptable

The group is proposing three types of ad standards: Insertions, Content Participation, and Collaterals

Insertions (as provided by advertisers)

• Definition: pre-recorded file provided by sponsor
• Time up to :10, ;15, :30, or :60 seconds
• Location: Pre-roll, post roll mid roll
• Frequency: Variable or time period
• Audio: 128k stereo/64k mono mp3, Sample Rate: 44.1 khz
• Video: H.264 MP$, Aspect 4×3 or 16×9 SD and HD

Content participation

• Definition: When an advertiser’s message is included as part of the audio or video podcast content.
• Time: Variable from :1 second to full episode
• Location: Pre-roll; mid-roll; post-roll; or integrated within one or a series of episodes
• Frequency: Variable by number of episodes per month; variable by number of insertions per user per month; or fixed per channel/feed per month.

Collaterals
All the other real estate that a podcaster has that may be included as part of an advertising or sponsorship package, or as separate items a lá carte.
Examples

• Show notes on podcast website
• ID3 tags in podcast episode file
• Album Art Cards
• Link and banner in enhanced audio podcasts
• Overlays, underlays in video podcasts
• Web banners, buttons, text links, hyperlinks (using IAB standards)
• Email sponsorships
• Press Releases
• Product sales (CDs, DVDs, merchandise)
• Signage/Outdoor (for retail)
• Brochures, flyers

The second area that the ADM focused on is developing a set of proposed measurement guidelines for audience traffic.

The Association of Downloadable Media is recommending compliance with one of two proposed methods to determine true download measurement. These two methods are Native Server Measurement or Third Party Measurement.

In order to comply with these guidelines, publishers would clearly state their download measurement methodologies to interested buyers. Buyers seeking to work with ADM-compliant publishers would be entitled to request and receive these download methodologies. The goal is to achieve high levels of confidence around the metrics for both parties.

Third Party Measurement (TPM)
A Third Party server is the intermediary between the Native Server and another Third Party Server. Third Party Measurement refers to the files measuring the initial download requests as received by a third party server to be delivered to the requester. Because the Third Party server is a constant, it may uniformly measure download statistics across multiple hosting services.

Data logged by third party servers include request information about the media being downloaded. Each request contains the following data that may be utilized for analysis.

• IP Address - Unique Internet address of the user consuming the media file.
• Time Stamp - Time at which the request was made for the media file.
• Request - The request specifies the media file requested and provides the method at which the request should be handled.
• HTTP Status Code - A technical code defined by the HTTP protocol that determines the status of the request.
• Referrer - Location where the request came from.
• User Agent - A unique value that identifies the service or application making the request. e.g. web browser such as Internet Explorer, podcatching agent such as iTunes, a web bot such as Google.
• Byte Range - This is the range of start and end bytes requested by the media consumer.

Native Server Measurement (NSM)
The Native Server is the actual end point where the media is hosted. Native Server
Measurement refers to the log files derived from the Native Server. It may include
the amount of data that was transferred in each log entry, and therefore may provide information to derive more than simple download statistics.

Data logged by native servers include request information about the media being downloaded as well as the amount of bytes transferred during the download transaction. All the data listed above (available to third party servers) applies to Native Servers. In addition, the following data may be utilized for analysis.

• Bytes Served - This is the amount of bytes that have been transferred to the media consumer in a given request. Depending on the type of request made, the bytes served may be less than or equal to the size of media file.

The data contained in either native or third party server log files does not necessarily mean that the data is analyzed. The method of analysis used varies.

Analysis Techniques and Factors

Both types of measurement include analysis techniques, in order to calculate download measurement. These analytic techniques are used to determine the validity of actual downloads (versus duplicated or aborted download attempts)

There are a number of factors used in any given technique to analyze log files.

• IP Address - The IP address may be used to determine if the request is unique or a duplicate. It may also be used to determine geographical information of the media consumer.
• Time Stamp - The date and time may be used to determine if the request should be counted.
• HTTP Status Code - The appropriate HTTP status code is examined to determine if the request should be counted.
• Bytes Served - The value may be used to determine if the media was completely downloaded. (Note: This information is only available from native server log files.)
• Referrer - The origin of the download may be used to determine if the request should be counted. e.g. media that is auto played upon loading a web page may be removed or reported.
• User Agent - The identifier of the application or service consuming the media may be analyzed to determine if the request is unique.
• Byte Range - The range of bytes requested in a given request may be used to determine what portion of the media is requested. When analyzed across multiple requests, the information may provide an accurate assessment to determine if the media was completely downloaded.

The ADM does not require a specific combination of factors or techniques, instead requires that you use analysis that’s appropriate to the business at hand in a way that provides high confidence data and you can explain the process used to create the data. It is left to any company following these guidelines to create techniques that fit their situation. However, it is strongly recommended to include the IP Address in analysis.

These types of measurements can be provided by services like Wizzard Media or PodTrac. UPDATE: ADM members RawVoice and Volomedia are also providing this kind of measurement service.

The proposed standards are open for public review and comment through May 16, 2008. Send to comments and feed back to info@downloadablemedia.org.

Once ratified will be reviewed bi-annually by ADM.

Technorati Tags: downloadable media, ADM, Association for Downloadable Media, Advertising, Standards

Andrew and Alex joined Forrester Research for its 2008 Marketing Forum. This article is the second in our series from the forum focused on customer engagement in a digital media world.

Realizing Your Return on Empathy (ROE)

Steve Kerho, VP Analytics, Organic
Mark Kingdon, CEO, Organic
Creating effective online (and offline) marketing solutions starts with a deep, emotional understanding of your customer segments and their needs - in other words, “empathy” for your customer “personas”. This empathy serves as a critical guide in designing online and other touchpoints, and the personas also support breaking down how you measure and respond to online performance.

Mark led off the sessions with the observation that as marketers, we have a lot of data about customers, but we need to get beyond the data to “touch” our customers.

He then solicited audience feedback on the importance of understanding customers in marketing through a uniquely engaging technique. When we sat down in the conference room, a pad and a branded pen were keeping each of our seats warm. The pens were laser pointers, and Mark gave us a brief tutorial on turning them on and aiming them without blinding our neighbors.

Mark walked us through a series of slides filled with questions and multiple choice “answer” targets; the volume of laser points bouncing around each target quickly illuminated audience response. The survey responses told us that collectively, we thought it important to find an edge in our marketing and to develop and understand customer personas to refine marketing approaches, but that we had a way to go in implementing these techniques.

Organic believes that getting to personas is so fundamental to their work that each year they send staff down to Vegas for “persona work”. The group breaks down into seven teams that are each assigned one of seven sins. Each team is tasked with observing people indulging in their target sin, and then developing a campaign for that persona. The exercise is all about getting to empathy, getting everyone on the same song sheet around what’s driving the consumer, their behavior and their needs.

Organic sees four steps in order to take advantage of empathy:

(1) Know your consumers well enough to develop detailed personas,
(2) Design web experiences around those personas,
(3) Tailor all media and touchpoints to these personas, and
(4) Know and optimize against “Return on Empathy”.

To get to step 4, marketing needs to secure management commitment to overcoming the challenges of siloed organizations, to develop a process for optimizing efforts, and to connect campaign objectives to metrics.

Why go through all this effort? Because empathy pays off, as Steve demonstrated with three case studies:

Jeep Patriot. The business objectives were to create familiarity and purchase intent for this all new vehicle in a crowded segment, targeting younger, internet saavy buyers. The solution was a very interactive online experience, where they shot 40 or so minute-long video segments for about the cost of a traditional 30 second spot. These segments comprise an interactive film, which viewers could enter and then steer their experience and outcome. Consumers were introduced to the story starting with a TV broadcast spot, then rich online ads, targeted emails, and theatrical trailers. In total their was about an hour of content, and the vehicle and its features appear in every scene. Their campaign had great results – Jeep more than doubled its target for unique visitors, with 80% of them new to the Jeep brand, enjoying an average viewing time of 5 minutes with 40% of visitors staying for over 10 minutes.

Bank of America’s No Fee Mortgage Plus product. The business objectives were to create familiarity, awareness and sell-through. They identified one persona familiar with the mortgage process, and another unfamiliar with it, and customized the site experience accordingly after three very simple multiple choice pre-qualifying questions.

Coach. The business objective was to increase the sales of bags online. The empathy process highlighted a key “persona” issue around women’s discomfort buying bags unless they are sure that they fit. The solution was to create an online bag “sizer” that drove a substantial increase in sales and reduction in returns.

After the case studies, Steve walked us through an example of metrics supporting “ROE” on site design. The example showed how the measures were built up, and demonstrated the differential impact on return against identified personas versus non-personas.

The session was running late so there wasn’t much time to discuss the ROI calculations, below.  Deeper reflection reveals a number of interesting questions, for example, why calculate ROI based on revenue rather than contribution margin, why only amortize the redesign over one quarter, and whether the redesign impacted other drivers of value such as new customer acquisition and retention rates.  You might choose a different set of assumptions for your business, but in any case, the persona-level analysis of differential site performance provides an important basis for objectively evaluating ROI.

The bottom line: executed well, empathy pays.

Q&A Discussion

You mentioned that the Jeep example exceeded traffic goals, but how does one go about establishing those goals? You end up in the forecasting business, and need to use historical performance offline and online as the baseline that you are trying to meet or exceed, for example CPM through traditional media (even though may be lower engagement, more eyeballs) You can also look at search traffic and value as another baseline for the value of the consumers you bring in.

How difficult is it to sell-in the work of building personas to clients? Actually, doing so in increasingly easy, and we have had some clients asking only for personas, not the follow-on work.

What is the role of customers in participating in site design? Customers are an increasingly important part of the process. In fact, we are working with a client now to involve customers in their core product development process.

How are you developing personas beyond traditional observations? We have deliberately selected low-tech workshops versus high tech means to develop personas, which surprises many because so much of what we do is high tech. That approach may evolve over time.

Does all this work to actually increase sales? Our clients have realized a high correlation between engagement, purchase intent, and buying behavior.

Tony Ponturo, President and CEO of Busch Media Group, spoke at the Future of Television conference. Tony observed the increasing complexity of marketing as the number of channels has exploded from the basic three back in 1972 to hundreds of thousands today with the web.

At the same time, the consumers are getting more sophisticated, diverse and elusive. Tony describes how the demographics of college markets are changing rapidly, in particular the increasing share of women in the college ranks and how that will change their marketing in the future.

He goes on to describe the rise of UGC and changing consumer media habits. Today, adults 21-34 consume over 58 hours of media each week (28+ hours on TV) . The internet has risen to 6.4 hours per week on average, and it consumes an average of 8.5 hours per week for those that have Internet access.

In the 80’s and 90’s, “consumers had to come to us”. In the latter 90’s through today, you need to go to the consumers. You need to find the consumer. While 90% of media spend is still on traditional sources, almost every deal needs to integrate into the digital space in some way.

Tony described the example of Swear Jar, which was originally done for the Super Bowl, but was considered too racy for TV given the bleeped out language. They bought 6.2 million views on Yahoo and Break. It then got 2.7 million more views on YouTube.

Tony showed the original internet spots for the Dude campaign which allowed the creative team to develop something unique, which then led to TV commercials with the same theme.

TV strategies are focused on Tivo proof TV such as big events and sports which have managed to retain their audiences. He sees an increasing shift to cable spend. Cable is up form 19% in 1998 to 30% in 2008.

Another major theme has been an increase in product placement in TV and movies.

The integration of TV and online is important. He describes how they get 32 million views online after the Super Bowl.

TV is as strong as ever, but there is now more need for added value and consumer engagement.

In addition to TV, Tony sees product placement and the convergence of broadcast marketing with online publishing as important brand marketing priorities going forward.

Technorati Tags: Future of Television, brand marketing, Busch Media Group

Television is changing a lot and television advertising is changing with it. Tivo, DVRs and the internet are changing the way content and advertising is consumed. It changes the way TV ads need to work. This panel explores some of the changes they see on the horizon.

Panelists
Karen Bressner, SVP, Advertising Sales, TiVo
Eric Hadley, Chief Marketing Officer, Heavy Corporation
Rick Mandler, VP, Digital Media Advertising, Disney/ABC Media Networks
Robert Riesenberg, President & CEO, Full Circle Entertainment
Moderator: Joe Adalian, Television Editor, Variety

What’s the future of the 30 second spot?
The 30 second spot is still an important marketing tools and will remain so into the future. As long as television is important spots like 30 second or 15 second ads will be important. Karen from Tivo says they can enhance the 30 second spot by making it interactive. Eric points out that the importance of TV will change for different segments as young males are using the Internet with increasing intensity on sites like Heavy.com. He says the key is to respecting the viewer and make the advertising relevant and engaging.

How important is diverse portfolio in marketing?
In this day and age, when a network has a show doing 7-8 share its a success. It demonstrates the fragmentation of advertising channels and the need for marketers to explore a diverse set of channels to find their audience.

What one thing should change, what would be the new rule?
As the networks have jumped on the bandwagon of integration it has become more commoditized. The integration needs to be more strategic and in harmony with the show as opposed to something that is just a media deal done for an advertiser wanting integration. Rick would like to see more aggregation of agencies to make it easier to coordinate marketing and make it more integrated. Eric suggests that measures need to be tied to the intent of the campaign, not just what can be measured. Just because you can measure impressions or click throughs does not make it a good measure for everything.

What new capabilities will brand marketers need to become publishers of relevant and engaging content?
Need to become masters of what data comes from set top boxes and DVRs to understand what works in different environments. There is also a crying need for different kinds of resources within the marketing infrastructure. Interactive capabilities are still very underdeveloped and need to improved. Brand marketers will need to integrate these new capabilities with their traditional story telling strengths to make interesting content.

Should brands rent or own their content?
Rick suggests that brands should rely on rented content. Content is not what advertisers do so they should leave it to the traditional content producers. Eric suggests that it doesn’t matter whether you rent or own it. What matter is that you need good content wherever the content comes from.

Technorati Tags: Future of Television, television, advertising

As a follow up to our earlier post of Think Publishing, Not Podcasting, I found Jason Calacanis’s post asking “Are ad networks for loser/weak publishers” a must read for anyone serious about building a publishing business.

Jason argues that if you are serious about building a publishing business you need to take control of your advertising sales. I could not agree more. Jason says that if you’re under $250,000 in revenue then ad networks are ok, but over $250,000 in revenue you should hire a sales person and build your own advertising revenue stream.

I think you should start a lot earlier - If you have a focused, high value audience you can get premium or even Super Premium ad deals. Just look at Grape Radio as an example. They have a great, high value audience and they get premium rates given their audience size.

The problem comes from the huge surplus of inventory available and publisher’s desire to get some money for that remnant inventory. This remnant inventory can be a big problem for publishers.PaidContent puts the rate at between 20-70 percent.

wide range of avails that go unsold at a given time can run from 20- to 70 percent of a site’s inventory

When you turn to ad networks to fill this remnant inventory, you get the same ads as everyone else, they probably won’t fit with your brand and you diminish the value of your direct sales.

Jason points out that giving away inventory creates a major problem. I agree completely.

Many of my friends give their inventory away to 3rd party networks and I’ve told them in no uncertain terms they are fools–really, really fools. In order to be a REAL publisher you must have control of three relationships:

1. Your writers
2. Your readers
3. Your advertisers

And I would add to that list - your community which consists of the relationships between your readers, your writers and your advertisers. If you treat those relationships with value, I believe it will return to you multi-fold.

Don’t make the mistake of thinking of your space as only useful for advertising. If you can’t get good ads for the space, then start thinking about how to use the space as currency within your community. And you want your currency to be as valuable as possible.

Think about how to use it to further relationships. Think of ways to allow readers to interact with other readers. Think of ways to promote your writer’s relationships with readers.

How can you do that? Here’s a few ideas. Run a contest, with ad space as one of the prizes. Promote the best comment of the day/week. Feature premium/dvd/cd content packaged from your writer’s archives. Ad video to your posts with writers adding color commentary to what they’ve published.

Your inventory is as valuable as your creativity can make it. Be creative, build a community based economy and good money will come your way.

Technorati Tags: ad networks, ESPN, Jason Calacanis

Microsoft announced that it is acquiring Rapt, a provider of advertising yield management solutions for digital media publishers. Rapt’s system is used by a number of big players like Microsoft, Yahoo, CNET Networks, Dow Jones & Company, Expedia, Fox Interactive Media and a number of well recognized web properties.

So what is Rapt and why is this a smart acquisition?

I came across Rapt last week while I was looking for solutions that help companies manage what could be called the advertising supply chain. And to understand Rapt, I think helps to a have a perspective on sales and operations planning and supply chain optimization. (which is something we have done a lot of)

Putting it simply, sales and operations planning is all about coordinating sales efforts with production. In the case of advertising, it means projecting how much inventory of what type (eg units, demos, etc) will be available looking out into the future and what that means for sales goals. It also includes the sales force communicating the markets demand for inventory of different types and the ongoing process of trying to match demand with supply. Once we have a sales and operations plan, its up to the sales force to sell and the supply chain to deliver.

Arming the sales force with the right information about what promises they can make to customers can make an enormous difference in terms of sell through and in terms of price realization.

On supply chain side, supply chain optimization means serving the right advertisement in the right place at the right time in a way that maximizes the revenue that can be produced on an ongoing basis. Doing this requires balancing the number of ads, placement of ads and a whole bunch of other factors. Doing this at large scale is not easy. Doing it well is worth a lot in terms of extra revenue capture.

From what I can tell, this is what Rapt’s solution helps companies manage.

This capability is at the heart of the advertising supply chain for any large publisher. And that’s why I think this is a very smart acquisition by Microsoft. The combination of Rapt’s ability to plan, coordinate and optimize the advertising supply chain and Atlas’ campaign management and ad serving capabilities should be a very compelling solution that will help Microsoft be a central player in the advertising supply chain.

And the icing on the cake is that this system is being used by both Microsoft and by Yahoo for managing their respective advertising sales and supply chains. Strategically, Microsoft blocks someone else from acquiring Rapt and screwing up their ability to integrate Yahoo and Microsoft’s ad sales and supply chain operations.

More discussion of this acquisition can be found here, here, here and here.

If you know more about Rapt, leave us a comment.

Click here follow me on Twitter at http://twitter.com/alexnesbitt

Technorati Tags: Microsoft, Rapt, advertising supply chain