For a sense of the challenge of today’s disseminated media ecosystem, consider the scope of activity in digital advertising within the magic kingdom alone.
“During a given week, there are 4 to 5 billion advertising impressions on Hulu, Disney + and ESPN,” said Josh Mattison, executive vice-president of Disney Disney advertising, during a session VarietySummit of entertainment marketing. “During a given month, we see 50,000 pieces of advertising creation entering.”
Josh Mattison of Disney
Variety via Getty Images
Mattison shared these figures during a conversation on the use of AI tools to help with the amazing volume of advertising and marketing equipment that crosses Disney digital pipes. These statistics highlight the problem that vibrated under almost all the panels of the April 24 event: the methods of capturing public attention proliferate at an exponential rate, while many consumers – especially zoomers and millennials – have become more and more allergic to the perception that they are sold.
To reconcile these difficulties, the leaders of the Legacy studios to the banners, Tiktok and Google in Sephora and Nascar continued to go up a crucial theme: authenticity.
“We must all move away from this myopic vision of demographic data and start thinking more about who are really these people and have an authentic link with them,” said Darren Abbott, brand director of Hallmark, in the opening round table. “When you are authentic for them, consumers will come.”
For many, this means taking advantage of the most data as possible to target the public increasingly personally. On the content side, Mattison noted that the marking of metadata has become so sophisticated that advertisements can be adapted to individual scenes in a show: if a scene is defined in a kitchen, for example, the following advertising break could present one of the devices in the room. But campaigns that focus on specific details on how the public has already connected to a brand.
For the first blockbuster of the year, Warner Bros. ‘”A minecraft film“This meant to bring the creators of Minecraft established in the process from the start, in particular launching them in the film.” If you have been a cinema lately, you have probably heard “ Chicken Jockey ” shouted as strong as the chief of world digital marketing. “It was entirely intentional, part of the collaboration with the creators of the Get-go-go-go-go-go-go-go-go-go-go-go-go-go-go-go-go-po-po-p-cho-po-po-po-po-po-po-po-po-po-po-po-po-po-po-po-po-po-po-po-po-po-po-po-po-po -o
Stressing how exasperated marketing can be today, however, other panelists have highlighted the dangers of obtaining Also Granulament focused on specific fandoms service.
Gayle Troberman from Iheartmedia
Variety via Getty Images
“We target our way to forgetting,” said Gayle Troberman, executive marketing advisor for Iheartmedia, in a panel on the way so many consumers feel badly served. “We have to talk to more People to sell more things, not just people who love Taylor Swift and that kind of shoes and have cats and are really in pop music. If Taylor Swift targeted Swifies, the Eras tour would not have made a billion dollars. She targeted everyone.
It is the enigma of modern entertainment marketing: how to be both complete and tailor -made, balancing two apparently irreconcilable pulses during the same campaign. A perfect case study of this wrestling-22 was the discussion of “Wicked. “In a panel, Universal Pictures, the chief of domestic marketing, Dwight Caines, said that the” Rabaux fans “of Broadway was not enough to justify the next budget of the franchise of the franchise for two film
But earlier in the day, the chief of the franchise and the nbcuniversal brand strategy, David O’Connor, said that marketing for “bad guys” in non -English -speaking territories required a much more specialized approach. “We found ways to build a brand ecosystem in Japan which was very different from what we did at the national level,” he said. “As much as we like to develop global strategies, you must always think locally.”
At the same time, with vexedly, thinking locally can have a global impact. In the final panel of the day, Shelly Gillyard, Vice-President of Netflix Marketing, asked how the streamer sails in its biggest global campaigns. “We have more than 1.2 billion social disciples, and they talk to us all the time,” she said. “But we see, if something does not strike in Brazil, that does not go around the world.”
Sitting next to her, the world marketing chief of Sony Pictures, Joe Whitmore, who will then release “Karate Kid: Legends” at the end of May – broke into a large smile. “Well, fortunately,” Karate Kid “has a huge fandom in Brazil,” he said. “So I feel very good!”
(On the photo of Top: Cameron Curtis, Warner Bros. ‘Executive vice-president of global digital marketing, of the digital designer Leenda Dong and Brandon Lentino, vice-president of the viral nation of creativity and experiential, at Variety Entertainment marketing summit presented by Deloitte)