Measuring The Impact of Contextual Advertising On Television

Measuring the Impact of Contextual Advertising on Television
TVinContext 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
Measuring the Impact of Contextual Advertising on Television TVinContext 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
Both reach and relevance can be effectively achieved through informed placement of contextual advertising on television.
TVinContext TM
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 | References | End
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To 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 specifically for 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 focused programming topics or on verticallyprogrammed niche networks. But these opportunities are either limited to a subset of advertising categories or are too narrow to achieve the full benefit of televisions potential reach (Figure 1). Contextual advertising on television thus requires a broadening of the concept of endemic product placement to a wider set of potentially synergistic content and advertiser associations.
HIGH
ith 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 of channel options per household to the promise of Internet-friendly applications on the TV screen, the rapidly changing television landscape necessitates a new understanding of how ad placement can enhance advertising effectiveness. One such approach, contextual advertising, offers a unique opportunity for 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 amplifies the brand and its message and increases its effectiveness is the essence of contextual advertising. Within the television marketplace, identifying appropriate contexts for ads has been largely through gut-level assumptions for isolated and customized opportunities. Yet despite contextual advertisings growing popularity among the marketing community, researchers have struggled to find techniques for determining if contextual synergy can be measured in a meaningful and reliable way. The growing science of emotional priming (i.e. when a previous experience changes how a later stimulus is perceived) offers a potential pathway to understanding, measuring and validating the enhanced impact of contextually relevant advertising on viewers. Contextual advertising has been rooted in the print industry for 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 of print media planners and buyers and for good reason. The editorial content creates a mood or mindset that primes a reader to internalize a related advertising message. As publishers expanded from print to online, so too did the propensity to match editorial and advertising content. Businesses large and small, from 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. Thus, selling relevance has largely become the province of publishers both on and offline. Most television, conversely, is utilized primarily to obtain broad reach. The degree to which an advertiser can achieve relevance in television has been limited to either sponsorship of a franchise, program or program segment (which may or may not be organically synergistic) or wholesale integration of the product within a franchise, program or program segment. In the television world, much effort has been spent identifying 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 often optimally and seamlessly co-mingled, enhancing television engagement with contextually related messaging has remained a largely underutilized and elusive construct.
One Time Only Events

REACH
Broad Array of Movie or Programming Scenes & Content
Niche Networks
LOW
ONE-TIME ONLY
CONSISTENT CONTEXT
Figure 1. Instances of Contextual Placement by Reach and Context
Introducing TVinContextTM
Launched by Turner Broadcasting, Inc. in Spring 2008, TVinContext offers advertisers an opportunity to run ad creative adjacent to contextually relevant scenes across a large in-house feature film library. Turners proprietary ad placement process begins with identifying the premium programming content. Then, by digitizing the movie scene content into a customized logging and annotation system, Turner is able to meta-tag scene context within each segment of the movie for relevance. This is followed by the identification of optimal contextual categories to custom match with advertiser products, brands and services. TVinContext identifies three different types of contextual placements: (1) Explicit, (2) Categorical, and (3) Attributive. Explicit placements include a direct visual or aural mention
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Below the water line is a massive amount of processing, a large portion of which is dedicated to emotional responses and is where the low road pathways are primarily located. At the interface between the two is a form of associative processing that is facilitated by priming.
of the brand within the movie scene. For example, a character in a movie drinking a Miller Lite beer followed by a Miller Lite commercial. Categorical placements connect the brands category to the movie without explicit mention of the product. An example would be a character in a movie drinking an unidentified beer, followed by a Miller Lite ad. Attributive placements connect the brand values of the product with a scene in the movie. If Miller Lite were trying to reinforce the values of friendship and fraternity in their ads, it might be placed following a scene of a group of male friends playing poker or attending a baseball game. Movies provide a broad-based entertainment vehicle that expands the potential reach beyond the niche of endemics (e.g., home improvement enthusiasts). However, unlike true endemics in which the ethos of the entire programming content is matched with an advertiser, TVinContextTM seeks to establish links between contextually relevant individual scenes and ads. Would these links be powerful enough to generate impact on potential consumers? The challenge for Turner Research was to prove that reach could not only be delivered with relevance, but that the combination was measurably impactful. The growing science of emotional priming offered an opportunity to further understand the process of contextual advertising as well as inform potential novel measurement systems. For example, in one study, priming people with messages to cooperate in a task increased the likelihood they would cooperate in a future task (Bargh, et. al., 2001). In another study, smiling faces used as a prime for Western audiences to rate Chinese ideographs produced higher ratings of liking than the same images preceded by a scowling face (Murphy & Zajonc, 1993). Similarly, children exposed to food advertising that promoted snacking while watching television consumed 45 percent more food during a snack period than children watching television and snacking without the exposure to the food advertising (Harris, Bargh, & Brownell, 2009). Priming effects have also been demonstrated to be long-lasting and independent of recall (Cave, 1997). While the academic literature has exploded over the years to demonstrate the effects of priming to short and discrete stimuli, to date, media and marketing researchers have struggled to find techniques for determining if contextual synergy can be measured in a meaningful and reliable way in television. The main mechanism of contextual advertising is emotional priming, which involves a non-conscious, implicit and largely associative memory process that occurs automatically and without awareness. The 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 of non-conscious associations with thoughts and feelings related to the target product (e.g., brand attributes). It is well documented in the neuroscience literature that as much as 85 percent of the processing in the brain occurs below the level of conscious awareness (DuPlessis, 2006). Though most media and marketing research techniques examine explicit or conscious memory (e.g., ad recall), modern neuroscience and psychology posit that the majority of information-processing evaluations and decisions that lead to behaviors, including purchase, are strongly influenced by relevant, previously processed, and implicitly observed contextual cues.
The Science of Priming

The science of emotional priming (i.e. when a previous experience changes how a latter stimulus is perceived) suggests that the placement of ads adjacent to contextually relevant television programming can enhance the impact of the communication on the viewer. Numerous academic studies on priming have shown the ability of an initial stimulus to augment the response of a target audience to the effects of a second stimulus.
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involves conscious and non-conscious processing. The goal of this present study is to use multiple methodologies including variants of self-report as a measure of subjective conscious responses of high road processing and biometrics and eye tracking as measures of objective non-conscious responses of low road processing. Given the rich and complex nature of television as a stimulus, there are many types of priming elements that need to be considered for contextual advertising on TV to work. These include the frequency of the presentation (one vs. many), the duration of the presentation (brief vs. long), the relationship of the target to the prime (close vs. distant), the duration between the prime and the target (brief vs. long), and the level of awareness generated by the prime (masked vs. unmasked). Due to the high volume of content and rich nature of the potential priming elements offered by movies, the TVinContextTM environment offers an opportunity to explore and optimize the contextual relevance of the stimulus by creating scene and advertising pairs that can facilitate and enhance the effectiveness on both a conscious and non-conscious level.
Conscious vs. Non-Conscious

Definitions of conscious compared with non-conscious or below conscious processing range from the philosophical to the neuroscientific. Traditionally, conscious processing generates objective awareness while non-conscious processing is below awareness. Modern neuroscience has clearly determined multiple routes of information processing in the brain, with the dominant theory allowing for a primary path involving a fast acting low road that works on a non-conscious basis. The second path is a slower acting high road that leads to higher level processing in the neocortex or new cortex including areas of the prefrontal cortex that are uniquely human and uniquely complex (LeDoux, 1994). For example, the high road is utilized for processing conscious decision making such as what to order for dinner. The low road influences the choice, for example steak, and this influence comes from a complex web of non-conscious associations that are developed over the course of our lives, the most important being the feelings associated with steak, such as good tasting, highly satisfying, a sign of wealth, or high protein. One common metaphor to represent conscious versus nonconscious processing utilizes an iceberg floating in an ocean (Figure 2). The tip of the iceberg represents the proportion of 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 of processing, a large portion of which is dedicated to emotional responses and is where the low road pathways are primarily located. At the interface between the two is a form of associative processing that is facilitated by priming.
Devising a Research Plan

TVinContextTM depends on the ability of the selected scenes to prime the viewer to internalize the ad creative more readily. This presents a difficult research question. Given that most effectiveness research is dependent on explicit or conscious measures such as recall, are existing measurement tools suitable if they only work on a conscious level? With 15 brands on board in Fall 2008, Turner Research launched a multi-phase effectiveness research program that explored both conscious and non-conscious response to contextual advertising. The research design purposely included traditional self-report survey methods for conscious measures provided by a leading online research company (OTX), and those within the emerging biometric field for non-conscious measures provided by a leading biometric company (Innerscope Research). On a conscious level, we measured recall, purchase intent, notice-ability of the connection and brand attitudes. Additional conscious measures were included with the goal of assessing associations that were less direct and were likely at the interface between conscious and non-conscious processing (see Figure 2). These included measures of conceptual linkage and emotional synergy between the priming scene and the target ad. Nonconscious measures included the neuroscience based use of biometrics and eye tracking. Subjective variables were controlled in a series of respondent screeners as well as a pre-survey in which respondents rated ad creative independent of any contextual environment. For both conscious and non-conscious measurements, a test group of participants were exposed to content from movies that would air on TBS/TNT that included full ad pods
Conscious Associative
Non-Conscious
Figure 2. Iceberg Metaphor Representing Levels of Processing
It is likely that emotional priming with supraliminal (i.e., conscious) stimuli, such as contextually relevant movie scenes,
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similar in duration and content to that which would appear on television. The 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 following a different scene in the same movie that was not contextually relevant. As anticipated, the complexities of using both conscious and non-conscious metrics to quantify and validate the impact of largely supraliminal stimuli, yielded inconsistent results across the study. The highlights presented in this paper represent select findings that not only illustrate the power and complexity of contextual advertising, but also begin to underline the intricacies and nuances of partnering impactful selections of content and advertising creative.
Conscious Measures 56%

34% 28% 27% 31%
60%
Unaided Recall
Purchase Intent
Noticed Connection
Unprimed
Primed
Online Self-Report Measurement: OTX

In addition to the traditional ad effectiveness measure of recall, the self-report survey was used to measure attributes, linkage and conscious awareness of emotional synergy of an ad following a contextually relevant scene. The survey, conducted by OTX, was conducted among 250 respondents per cell with each movie/ad pairing having both a primed and unprimed cell. As expected, the results from the traditional surveys were inconsistent, highlighting that conscious responses are not always indicative of non-conscious learning. For example, while respondents for one of the participating brands self-reported unaided recall lower in the primed group, the same primed group accurately associated the brand with its key attributes at a higher rate than those who were in the unprimed group. This is just one of a several examples in which this phenomenon presented itself. The real story is in the benefits to the advertiser for message reception and purchase intent. In fact, 61 percent of all tested brands experienced a statistically significant lift in brand value recognition when the ad was primed. Further, among respondents who consciously identified contextual and emotional links between the movie scenes and the ads, purchase consideration more than doubled in the primed compared with the unprimed group. A good example of the incongruity with some of the insights occurred with the test results for General Motors OnStar advertisement that was contextually placed within the movie Bourne Supremacy. This was an attributive placement in which the ad for the automatic response system in GM vehicles was placed after an intense car chase and crash scene in the movie. The conscious measures of recall were higher for the ad among the unprimed group compared to those who saw it after 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).
Figure 3. Self-Report Measures of Ad Effectiveness
Although the recall, purchase intent, and noticed connection had no significant difference for OnStar, those same respondents did have significantly higher measures on the key brand attributes for OnStar (Figure 4).
54% 49% 50% 52% 49% 43% 49% 47% 41% 40%
Safe
Peace of Mind
Reliable
Responsible
Trustworthy
Unprimed
Primed
Circle indicates significantly different than comparative group(s) at 90% confidence.
Figure 4. Self-Report Measures of Associations to Brand Awareness
In addition to being asked about the brand attributes, respondents were shown still images from different scenes in the movie they were exposed to and asked to choose which scene stood out the most. They were then asked later in the survey to pick out which advertisement stood out the most after being shown still images from the many ads that were shown. Respondents who chose both the contextual crash scene and the OnStar ad as stand outs had significantly higher purchase intent and notice connection scores (Figure 5).
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92%
86%
71%
Biometrics & Eye Tracking Measurement: Innerscope

To better understand the effectiveness of contextually-placed ads on television on a non-conscious level, Turner partnered with the leading biometric research company, Innerscope Research, to test the impact of priming in contextual advertising on a nonconscious level. Biometric measures have a proven track record of success in measuring non-conscious emotions in advertising and are increasingly being used to measure television advertising effectiveness (Poels & Siegfried, 2006). Newer technologies informed by neuroscience, including biometric measures traditionally used in the medical and psychology fields along with state-of-the-art eye tracking to measure visual attention were employed. Innerscopes biometric measurement combines respiration, heart rate, skin conductance and movement to produce a non-conscious emotional engagement score for each second of the video content viewed. Biometric data was collected using a garment based system with wireless sensors embedded into a light-weight vest worn underneath regular clothing. The four channels of biomeasures were time-locked to the stimulus and analyzed using a patent-pending methodology that combines physiological synchrony with a measure of physiological intensity that produces a measure of audience engagement (Marci, 2006). For the purposes of this study, synchrony is defined as the degree to which the biomeasures of the target audience uniformly change when exposed to a media stimulus. This corresponds with the aggregate level of attention in the audience. This measure of synchrony is combined with the level of intensity, defined as the cumulative strength of the response of the biomeasures. This corresponds with the aggregate emotional impact on the audience. Thus, the definition of biometric response in this study is the combination of audience synchrony (attention) plus intensity (emotional impact) on a non-conscious level. The emotional engagement score for the target ad after viewing a contextual scene was compared to the response following a control scene. Eye tracking fixation scores were also calculated by Innerscope for a subset of the test and control groups to have an added measure of audience visual attention to the screen in the primed vs. unprimed conditions. Innerscope recruited eighty (80) males and females (age 21-49) to a central location in Boston, MA in December 2008. Audiences watched a combination of primed and un-primed movie segments and advertising pods. Respondents were screened to include regular television viewers that were non-avoiders of the test
42%
48%
19%
Aided Recall
Purchase Intent
Noticed Connection
Unprimed
Primed
Figure 5. Scene & Ad Standout in Self-Report Measures
This suggests that when the association between the scene and the ad is strong, purchase intent increases. Another associative measure tested in the self-report survey involved asking respondents to state what emotions or moods they were feeling after seeing the contextual scene and then asking the same question regarding the target ad at a later part of the survey. Those participants that picked the same emotion for both the scene and target ad also had significantly higher recall, purchase intent and noticed connection scores (Figure 6).
89%
88%
Secure
68% 46% 53%
20%
Aided Recall
Purchase Intent
Noticed Connection
Unprimed
Primed
Figure 6. Emotional Congruency Between Scene & Ad in Self-Report Measures
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movies. Again, a few examples from the research are highlighted to illustrate the impact of contextual advertising. Overall, results showed the immediate impact on emotional engagement using the biometrics as a measure of non-conscious response in the primary portion of the study was significant. Compared with the unprimed experience, the average emotional engagement score increased 20% (8.3 points). In addition, while not statistically significant due to the smaller sample size, the eye tracking fixation scores showed a 9% increase in the primed compared with the unprimed experience. Furthermore, a contextually placed advertisement likely benefits from the long term effects of priming, which have been documented to last up to 48 weeks (Cave, 1997). To further illustrate the results, examples from each category will be highlighted. The first priming scene and ad pairing example is explicit, meaning there was a clear reference to the brand and/or product. In this case, the scene involved a Miller Lite ad following a scene in the movie The Guardian starring Kevin Costner and Ashton Kutcher (Beacon Pictures, 2006). The priming scene featured the two stars in a local bar with multiple neon Miller Lite signs posted in the background. This is a clearly an explicit prime, with the brand name prominently featured multiple times. Results showed an increase in biometrically based emotional engagement score from an unprimed level of 74 to a primed levelof 87 (Figure 7).
Emotional Engagement Score

88 83
Innescope Database Average
79
Unprimed
Primed
Figure 8. Non-Conscious Emotional Engagement Score in Primed vs. Unprimed During Categorical Pairing

87
Innerscope Database Average
The third priming scene and ad pairing example is attributive, meaning an attribute of a product or brand was prominently featured. In this case, the scene involved a car accident with Matt Damon escaping from a late scene of the Bourne Supremacy (Universal Pictures, 2002). The scene was followed by an ad for OnStar featuring an unknown actor in a car accident. This example of attributive priming resulted in an increase in biometrically based emotional engagement score from an unprimed level of 80 to a primed level of 83 (Figure 9).

74
Innerscope Database Average
Unprimed Primed
79
80
83
79
Unprimed
Primed
Figure 7. Non-Conscious Emotional Engagement Score in Primed vs. Unprimed During Explicit Pairing
The second priming scene and ad pairing example is categorical, meaning there was a clear and explicit reference to the category. In this case, the scene involved the main characters, Will Ferrell and Mike Ditka in Kicking & Screaming (Universal Pictures, 2005), drinking coffee in a coffee shop, followed by an ad for Folgers Coffee. This example of a scene featuring the category of the product/brand resulted in an increase in biometrically based emotional engagement score from an unprimed level of 83 to a primed level of 88 (Figure 8).
Figure 9. Non-Conscious Emotional Engagement Score in Primed vs. Unprimed During Attributive Pairing
As mentioned, the eye tracking results were directional, with the majority of examples tested showing an increase in visual attention to the target ad overall. As an example of how priming can increase visual attention to the brand, a heat map shows visual fixation during the branding moment for the OnStar attributive
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The increased emotional impact as measured by the biometric response, reflects greater internalization of brand attributes and messaging.
pairing during the primed compared with the unprimed viewing experience (Figure 10).
Unprimed
Primed
High Medium Low
Figure 10. Eye Tracking Fixation on the Brand During Primed vs. Unprimed Viewing Experience
As evidenced in this figure, there is more visual attention (i.e., a larger area of red representing high fixations) on the branding moment for the primed compared with unprimed participants. This suggests that emotional priming is working to direct visual attention in addition to increasing emotional response.
In Summary
The results of the present study strongly suggest that contextual advertising on TV has a measurable effect. But while the conscious response can deliver higher recall, it is not always indicative of non-conscious processing and therefore not the best indicator of overall impact. The increased emotional impact as measured by the biometric response, reflects greater internalization of brand attributes and messaging. It is possible that this is a better indicator of overall effectiveness, as it reflects the underlying non-conscious processes that are the building blocks of brand associations and future behavior. In general, the stronger a respondents emotional connection to both the scene and the ad, the stronger the results.
Identifying and creating contextual opportunities for advertisers is neither a simple nor instinctual process. Priming elements that create linkage are layered, subtle and often reliant on combinations of contextual cues, and ideal pairings encompass visual, aural and conceptual congruency. The categorical placement within the film Kicking & Screaming, for example, illustrated how the priming effect was maximized when the scene created a need state that the ad responded to and fulfilled with its product or service. The scene focused on the characters strong emotional need for coffee and was followed by an advertisement for 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 of GM On Star, the cognitive awareness of the crash scene in Bourne Supremacy followed by the emotional drama of the ad creative to showcase the products safety features delivered this balance. When combined with the extensive priming literature and our growing knowledge of non-conscious emotional processes in advertising, the present study offers sufficient evidence to prove that airing an advertisement with a properly identified contextually relevant priming scene can increase the effectiveness of that advertising significantly. Examples are given of lift in multiple metrics with some interesting nuances in all three types of contextual placements (i.e., explicit, categorical and attributive). The results suggest there are opportunities to refine our methodology for identifying scenes and pairing ads for further optimization. For example, highly explicit primes may be more effective when placed prior to or further away from the priming scene so that the viewer feels the priming was not too forced. Some attributive primes may be too subtle to connect with a viewer, consciously or nonconsciously, while categorical primes generally deliver a more balanced association. This learning has particularly helped Turner to develop more layered levels of detail in our meta-tagging processes as well as greater coordination with clients in selecting appropriate creative. Activating conscious and non-conscious attention and emotional response is the very essence of audience engagement and defines relevance to viewers. Increasing engagement via contextual advertising and priming mechanisms is a win-win for advertisers as cognitive processing (i.e. attention) is often associated with awareness of the target ad, while emotional processing is often useful for building positive brand associations (i.e. feeling good about the brand). Thus, contextual advertising
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Activating conscious and non-conscious attention and emotional response is the very essence of audience engagement and defines relevance to viewers.
has the ability to improve overall ad attention, non-conscious emotional response and brand associations while uniquely enhancing viewing and TV ad performance. Given the directional evidence from academic research that priming effects can last for several months (Cave, 1997), it is possible that the increased ad effectiveness offered by contextual advertising may also last well beyond the experience of the ad resulting in additional benefit to advertisers. The results of the present study suggest that reliance on conscious measures alone is not sufficient and that new metrics are needed to understand the effectiveness of contextual advertising of the type offered by TVinContext. This should not be a surprise when one considers that both conscious and nonconscious processing are involved in consumer purchase behavior (Figure 11). Thus, metrics that define effectiveness should utilize both conscious and non-conscious measures. Given that media and market researchers are well aware of consumers inability to consistently and accurately report on their own behavior (Stelter, 2009), the time is right for expanding beyond traditional measures. Non-conscious measures derived from biometrics and eye tracking offer an opportunity to capture a more complete and comprehensive view of consumers as they engage with advertising. In conclusion, the overall propensity to drive increased advertising impact was very clear. Using the priming concept adroitly, TVinContext was able to: Boost viewer engagement with advertising by creating optimal visual, aural and conceptual links Reinforce the brand as a member of a particular category and thus strengthen its position within the viewers consideration set Align the brand with one or more desirable benefits and/or attributes in the viewers mind. In short, both reach and relevance can be effectively achieved through informed placement of 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 for maximum impact.
Traditional Consumer Decision-Making Funnel
Conscious
Aw a r e n e s s , R e c a l l
Understanding
Non-Conscious
Engagement
C o nsideration, In t e n t
Purchase
Figure 11. Relationship between Purchase Funnel and Conscious vs. Non-Conscious Processing
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Stacey Lynn Schulman is Senior Vice President of Turner Entertainment Sales Research, working closely with David Levy, president of Turner Entertainment Ad Sales and Turner Sports, and with Ad Sales executive management teams for Adult Swim, Cartoon Network, truTV, TBS and TNT, as well as Turner Sports & Entertainment Digital research. Prior to joining Turner in 2007, Schulman spent 10 years working for the Interpublic Group of Cos. in a variety of executive research and marketing positions including president of the companys Consumer Experience Practice. From 2003-06, Schulman worked on worldwide accounts as executive vice president of global research integration for Initiative, a media agency within the Interpublic family. From 1997 2003, Schulman served as Senior Vice President, Director of Broadcast Research, helming Initiatives seminal research on consumer behavior, interactivity and media convergence with MIT. 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 for Opinion and Marketing Research (ESOMAR), MIPCOM, the European Group of Television Advertisers, CTAM, National Association of Television Program Executives, and IMedia. Her work with MIT was awarded Best Paper Honors at ESOMARs Worldwide Measurement Conference 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 Crains New York Business. In 2004, Stacey was inducted into the American Advertising Federation (AAF) Hall of Achievement, the first research professional to be inducted in the AAFs history.
The Authors
John Clifton is a Senior Director of Turner Entertainment Ad Sales Research and Sales Strategy. John joined Turner in July 2007 and has a well-rounded broadcast research background having worked on both the agency and network side of the business in the course of his career. Prior to joining Turner, John was the Director of Broadcast Research at media agency OMD, where he oversaw the agencys positioning on all matters relating to broadcast research, including national and local television and radio. Prior to OMD, John held the position of Director of News Audience Research at NBC where he worked in programming and ad sales research for NBC News properties. Before that he worked at CBS, where he was involved in sports and news audience research. He started his career in research at rep firm HRP before moving to the agency side for the first time at Ketchum Advertising. John graduated from 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 of Turner Entertainment & Sports Ad Sales Research and Strategy. Through partnership with sales management, she develops innovative, compelling research analysis and strategic insight to drive revenue and effectively position Turners Entertainment Networks (TBS, TNT and truTV) and Turners Sports properties (NBA, MLB, Golf and NASCAR) in the marketplace. Kathryn has been instrumental in the success of the Entertainment sales division and the industry wide leadership position held by Turner Entertainment Networks. She spearheaded many important sales initiatives and innovations including the commercialization task force, broadcast alternative strategy, and TVinContext. A true television and Turner veteran, Kathryn joined Turner Broadcasting Sales in 1982. Dr. Carl Marci is Co-Founder and CEO of Innerscope Research. He is on faculty at Harvard Medical School and is a former Visiting Lecturer at the Massachusetts Institute of Technology (MIT) Media Lab. Dr. Marci received his M.A. in psychology at Oxford 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 of Health fellowships. Innerscope has been featured in the Boston Globe, New York Times, Wall Street Journal, Advertising Age, Media Week, Research Magazine, Popular Science and the International Herald Tribune. Dr. Marci has recently presented at the Advertising Research Foundation (ARF), Association of National Advertisers (ANA), the Cable & Telecommunications Association for Marketing (CTAM), and the World Advertising Research Conference (WARC), and was a guest editor of the International Journal of 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 internationally.
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TVinContext TM
References
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Measuring The Impact of Contextual Advertising On Television

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TVinContext 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