Conférence Annuelle des Jeux en Ligne au Canada

• Description : La Conférence Annuelle des Jeux en Ligne au Canada est un événement incontournable pour tous les passionnés de jeux. Axée sur les jeux pay-to-win, cette conférence réunit des développeurs, des joueurs et des experts de l’industrie pour discuter des tendances, partager des idées et présenter de nouvelles sorties. Il y aura des tables rondes, des sessions de questions-réponses, des ateliers interactifs et des compétitions de jeux en direct.
• Détails de l’Événement :
  • Date : 15 octobre 2024
  • Lieu : Centre des Congrès de Toronto, 1234 Rue Front, Toronto, ON
  • Billets : Disponibles en ligne sur www.entertainmentinfo.com/gamingconference
  • Prix des Billets :
    • Admission Générale : 150 CAD
    • VIP : 300 CAD (inclut l’accès à des zones exclusives, des cadeaux et une rencontre avec les développeurs)
• Activités Incluses :
  • Tables rondes avec des leaders de l’industrie
  • Présentations de nouveaux jeux et mises à jour
  • Ateliers pratiques pour développeurs et joueurs
  • Compétitions de jeux en direct avec des prix incroyables

Ne manquez pas cette occasion unique de vous connecter avec d’autres fans de jeux et d’en apprendre davantage sur le monde des jeux pay-to-win. Réservez votre billet dès maintenant !

Oscar Mayer smokes its thick-cut bacon for 12 hours. To draw attention to that fact, the brand took an unusual approach that hijacks beauty advertising.

The campaign, by agency Johannes Leonardo, features a series of 15- and 30-second spots that start simply, with shots of the meat slowly cooking and an explanation about how that process imbues it with a strong, smoky flavor.

The commercial break then transitions to what seems to be an unrelated spot: an archetypal promo for a lip gloss promoting its long-lasting shine or a razor offering a close shave.

In both cases, the actors are interrupted by an overpowering smell, with Oscar Mayer revealing that the bacon is still smoking.

“All bacon ads are about bacon, but when your bacon is smoked longer than most, sometimes your bacon ad will run into a beauty ad, or a shaving ad,” Johannes Leonardo creative director Zack Roif said in a statement. “When the regular 15-second media buy just isn’t enough time to demonstrate how long we smoke your bacon, we took aim at disrupting all the other ads to prove our point. We’re smoked longer.”

The tactic is reminiscent of an out-of-home campaign from Jollibee in 2022, in which the restaurant chain produced watch and fragrance ads that were actually linked to their own digital billboards.

The Oscar Mayer campaign will incorporate online video, social media, display and streaming audio tactics across iHeartRadio, Twitch and sports mediums. Social media posts measure the bacon’s cook time in screen time averages or the length of multiple basketball or football games.

CREDITS

Client: Kraft HeinzDirector of external communications and public relations, North America: Jenna ThorntonVice president of marketing for Oscar Mayer: Molly WhiteSenior manager, brand PR for Oscar Mayer: Kate MitchellBrand communications manager for Oscar Mayer: Shelby Max

Production and creative: Johannes LeonardoCo-founder and creative chairman: Jan JacobsCreative directors: Zack Roif, Michael HessAssociate creative directors: Caitlin Harsch, Dany BabetteDesign director: Charles WatlingtonSenior designer: Emma McGuireGroup strategy director: Julianna KatranchaStrategy director: Anthony PerezHead of communications strategy: Jonathan DalyCommunications strategy director: Jim RechSenior communications strategist: Cameren MoncrieffeStrategist: Andrew GrantHead of account management: Connor KeeshanGroup account director: Jack BeckAccount supervisor: Heidi BrownAccount manager: Shenea WalkerGroup executive producer: Ken KitchProducer: Anna JamesBusiness affairs director: Alesa Blanchard-NelsonSenior business affairs manager: Emilly TanSenior project manager: Destiny Heggins

Paid media: Carat U.S.Vp, integrated planning: Karla FariaAssociate media director: Emily MillerSenior manager, planning: Laura LumbayiDirector, strategy: Jackie RogersSenior media planner: Indri SaskiaputriMedia planner: Philip Carrol

Cultural marketing: CashmereSenior vp, cultural strategy: Jesse NicelyAccount manager: Nardos Berhane

Social media: The KitchenAccount director: Danielle SikoraSocial media manager: Rachel Miller

PR: Zeno GroupHead foodie: Missy MaherExecutive vp, earned media: Courtney PischkeSenior vp: Jamie DammrichVp: Bri ShanleySenior account supervisor: Bethany RothAccount supervisor, earned media: Veronica SmithSenior account executive: Morgan MillerAssociate account executive, earned media: Kara McKiernan

Tech vendor Good-Loop—with a mantra of building ad solutions that have a more positive impact on the world—is letting publishers use its carbon measurement, reduction and recommendations product, Good Measures for Publishers, for free. Advertisers pay $5,000 monthly to access Good Measures.

Publishers can sign up for an emissions audit now with the tool launching in August, it announced at the Cannes Lions Festival.

“We must stop telling advertisers that they are reducing their emissions by blocking publishers, that is wrong and factually incorrect,” Will Luttrell, chief technology officer at Good-Loop told ADWEEK. “When you block publishers you have done nothing to decrease your own carbon emissions.”

Publishers have been irked at being overly penalized by advertisers’ attempts to go green on two counts. Third-party tech vendors like Good-Loop and Scope3 have introduced tech layers for brands to block higher-carbon emitting publishers (without telling those publishers), restricting them from earning ad revenue. Some tech vendors then charge publishers a fee to either reduce emissions or get them off the naughty list, added Luttrell.

Carbon blocklists have impacted a much smaller portion of publisher revenue than brand safety blocklists.

Good-Loop’s recommendations

In the dashboard, publishers will see factors in their scope 3 emissions (which differ from advertiser emissions) including page weight, number of ad units and sell-side supply path analysis. Scope 3 emissions include those from the supply chain, not owned or controlled by the advertiser. For some digital media companies, this accounts for 95% of emissions.

Reduction recommendations will include criteria like trimming the weight of the page, reducing font files or ad slots and ways to declutter the site.

Instead of offering buyers a blocklist, Good-Loop will let them know there is a top 25% of publishers that have taken steps to reduce carbon emissions.

Alternatives like Scope3 offer some free access for publishers like their percentile ranking for emissions compared with other web properties, as well as emissions over time and supply paths. It offers more details for a fee.

Publishers haven’t yet been briefed on the dashboard, but in theory, “Anything free for publishers to help them understand and mitigate emissions from their programmatic ad supply chain in principle is a good thing,” said Gerson Barnett, founder of consultancy Right Thing Media.

Aligning with GARM

Good-Loop has overhauled the methodology for the Good Measures product to fully align with the new Global Alliance for Responsible Media (GARM) framework, the long-awaited scope 3 measurement standards, announced this week at Cannes.

For Good-Loop, the new framework marks a massive departure in its methodology.

Where the tech vendor previously measured scope 3 emissions by electricity transmissions—for instance, the electricity used by the servers that run a demand-side platform (DSP) that powers the ad buying—GARM’s framework counts the embodied emissions of all middlemen as scope 3. That incorporates emissions from the cradle-to-grave lifespan of all parties, said Luttrell.

Under this new framework, it found that 75% of energy consumption is in embodied emissions, added Luttrell.

With Good Measures enhanced to align with GARM standards, advertisers can now feed their campaign data into the platform and Good-Loop supplements the baseline GARM measures with a more bespoke view of the carbon signature of each ad served. These are based on emission factors like server location, user location, wifi usage, device and time-in-view.

The company said that Good Measures has previously helped brands achieve up to 47% carbon reduction on in-flight campaigns, letting advertisers save over 20 tons of CO2 per campaign, the equivalent of driving 50,000 miles. It wasn’t able to share more specifics on these numbers.

GroupM, WPP’s media shop, has teamed up with measurement company Incremental (formerly Tradeswell) in an attempt to zero in on the impact of retail media buys. The agency announced the new partnership at the Cannes Lions Festival.

The deal, announced today, will give GroupM clients access to AI-driven planning tools, forecasting, measurement and analytics for retail media. Because it’s plugged into GroupM’s Open Media Studio, client teams can manage retail media alongside all other digital media.

“We want to be able to plan our retail media investment dollars in the same place, with the same rigor, as we’re planning the rest of our digital dollars,” Sam Bukowski, global head of commerce at GroupM, told ADWEEK. “[It’s] a co-engineered approach to bringing Incremental intelligence into our platform and our tools that are thinking about an integrated end-to-end approach.”

The deal is the second retail media-related partnership announcement from GroupM in a week. On June 12, the agency unveiled that it’s working with Shalion, a retail intelligence company specializing in digital shelf analytics.

What is incrementality?

This move comes at a moment when incrementality has become the ad industry’s buzzword du jour, in part as a response to the industry’s over-reliance—and subsequent souring—on return on ad spend (ROAS).

While ROAS measures how many sales (or other success metrics) are achieved during an ad campaign, incrementality-based metrics aim to narrow that measure to include only the sales that wouldn’t have happened without the campaign.

ROAS can be easily manipulated, noted retail media analyst Andrew Lipsman, and often isn’t a good way to measure success in a retail media environment.

Paying for sponsored product ads in the search results of your brand name will look great from a ROAS perspective, but most of those people searching specifically for your brand were probably going to buy it anyway.

Incremental measurement aims to cut out the sales that were already in motion. For example, people who were already planning to buy a gallon of milk and would’ve done so whether or not they saw an ad for milk on the way into the grocery store, explained Incremental CEO David Pollet. The goal is to swap correlation for causation.

The age-old question: Did it work?

It’s really just another attempt to answer the age-old question of advertising measurement: Did it work? And it’s hard to get a precise picture.

“You need some system for—wherever possible—doing holdouts and control groups,” Pollet said. “Incrementality is a very specific definition. It requires that there are places where you have made the ad disappear, perceived the performance of it, and then made the ad reappear and looked at that performance.”

By integrating with GroupM, Incremental can incorporate additional data assets into its modeling—building a more accurate prediction of which retail media generates incremental sales for brands. Still, it’s a challenge in retail media environments, and measurement must include all channels to give a valuable estimate of incremental sales.

If you’re not an experienced content creator, it might be difficult to determine the best length for Instagram Reels to get the best results. And knowing the ideal number isn’t everything – your metrics might tell you something entirely different.

In this article, we explore everything you need to know about the ideal length of Instagram Reels and other Instagram content – according to the team themselves.

How long can Instagram Reels be?

Like TikTok, Instagram allows uploads of longer videos, as IG Reels can be anywhere from 15 seconds to 15 minutes in length. However, unlike TikTok, Instagram sets very clear boundaries for how long a reel should be to perform well (this is an important caveat).

When filming a video within the Instagram app, users can choose from various specific durations —15 seconds, 30 seconds, 60 seconds, and 90 seconds. Everything from the reel templates to the ideas you’re shown all cap at the 90-second mark, and you won’t be able to film additional clips. 

But while you can’t make reels longer than 90 seconds within the app, you can upload longer videos than the available time limits in the content uploading section of your app. The video will just be cut off after the allowed time elapses.

Once you’re done editing your video, add eye-catching graphics, a call-to-action (CTA), and hashtags to increase your content’s discoverability in the Instagram feed.

Can you upload longer Instagram Reels?

Yes, you can upload any video up to 15 minutes, and it will automatically be turned into a reel. 

When you upload a video filmed or edited outside the Instagram camera, there’s no need to choose a specific video length. You’ll have access to most of the same editing tools and functionality of the reels process (no music or extra clips, so make sure to add that before you upload).

Make sure your video fits the expected Instagram Reels dimensions of 1080 x 1920 pixels so it fits neatly into the feed and gives the full-screen experience.

If you want to upload a longer reel, simply go to your camera roll and select the video or videos you’d like to upload and they’ll pop up in the editing area.

How long should an Instagram Reel be?

Although you can create reels up to 15 minutes long, they shouldn’t be over 90 seconds, according to Adam Mosseri, CEO of Instagram, as they can hurt distribution, and the algorithm will not prioritize longer reels.

However, length is not the only factor you have to consider – things like high-quality visuals and effective messaging are also vital when it comes to social content and holding user attention.

Many creators work around the suggested limit for video lengths by directing their followers to “read more” in the captions.

They create very short videos that are pleasing to watch in a loop while their audience reads through the captions or engages in the comments.

How long can an Instagram Story be?

An Instagram Story can be up to 60 seconds long and will disappear after 24 hours. You can add multiple 60-second videos if you want. 

Previously, longer videos were broken down into 15-second clips as they were uploaded to Stories, but now the maximum length is 60 seconds, and it remains as a single video.

They also won’t appear in your main feed, other users’ For You Pages, or following feeds. Your Stories will only be visible when followers tap on your profile photo, either while viewing your profile or within the DMs or messages tab. 

Here’s a quick tutorial to film or upload content to your Story on Instagram:

Tap the Create button – the + icon at the bottom center of the screen when you open the appSwipe to the Story option, which is the second option in the bottom centerRecord your Story or upload your content by tapping the bottom left of your screenAdd your stickers, music, or text.Hit the → button to upload!How long can Instagram carousels be?

Instagram carousels can have up to 10 photos or videos. Users on mobile can view carousel posts by swiping left, while desktop users can click through using the arrow button on the right-hand side of a post.

To create an Instagram carousel post, choose Post in the creation area and hit the overlapping squares in the middle right of the screen to select multiple images and videos.

You can add trending sounds or music to your Instagram carousel by clicking on the music symbol in the top right corner of your screen. Make sure your track of choice doesn’t run out before the user has finished swiping through the carousel.

The length of Instagram Reels vs. TikToks vs. YouTube Shorts

TikTok videos can be up to 30 minutes long, depending on your region. The maximum video length for YouTube Shorts is 60 seconds (any new videos longer than that will be published as regular YouTube videos but keeping the portrait aspect ratio). And of course, the ideal time limit for Instagram Reels is 90 seconds, but you can upload videos of up to 15-minutes in length.

Reels was Instagram’s response to the rise of TikTok’s short-form content, although TikTok seems to be leaving the short-form space behind to compete with longer-form YouTube videos.

The platforms don’t feel all that different. In fact, it’s common for creators to use Instagram Reels on TikTok and YouTube Shorts — we even recommend doing so for more visibility on your posts.

While cross-posting your content is the smart choice, especially to ease the content creation process, it’s wise to pick a primary social media platform for your videos and create your content with your target audience’s needs and preferences in mind.

If you’re stuck on which short-form video platform is best for you, you might want to create a social media marketing strategy. Everyone from influencers to social media managers finds this process helpful.

This social strategy guide will get you started and guide you through some questions to help you make the best choice for your social media goals. 

Finally, instead of focusing solely on the length of your videos, remember you have to produce quality content on Instagram, too. Your videos should perform well as long as you’re making reels that users find interesting and useful.

Grocery delivery platform Instacart is expanding its partnership with Google to offer shoppable ads to advertisers on YouTube.

Through the deal, brands can buy clickable ads that take people directly to Instacart, where they can order products for same-day delivery. Instacart announced the new ad format from the Cannes Lions Festival.

Instacart is aggressively looking for new surfaces to sell its products.

It’s the latest in a series of partnerships that let advertisers target Instacart audiences offsite across the open web and CTV platforms, a growing trend in retail media.

Carnival Cruise Line has selected TBWAChiatDay New York as its creative agency of record, following a pitch process that was led internally by the brand.

The agency is charged with elevating Carnival’s brand platform to create a distinctive and disruptive position for the brand with a plan for growth. Carnival’s collaboration with TBWAChiatDay New York will launch during the cruise industry’s “wave” season that begins after the December holidays and runs through March, with the first work landing either late this year or early 2025.

“We wanted an agency partner who could really collaborate with us and think about how we continue to disrupt and really transcend the category. That led us to a search, and it led us to TBWA. Their focus on disruption and thinking about pushing against the conventions of the category we felt would be really interesting for us,” said Amy Martin Ziegenfuss, CMO at Carnival, who has been with the company for just over a year.

With Carnival’s 50-plus year heritage, TBWAChiatDay New York saw a great opportunity to take an iconic brand and help create a successful platform that would propel its next 50 years.

“It’s a dream opportunity for a partner. Great work comes from great partnerships, and I think Amy has a proven reputation of being exactly that,” Emily Wilcox, CEO of TBWAChiatDay NY, told ADWEEK.

Wilcox added that the pitch, which featured multiple agencies, was collaborative throughout, with plenty of feedback given so TBWA could refine its pitch.

Over 50 years of cruising 

Carnival helped start the cruise marketing push, launching the first-ever national advertising campaign 40 years ago with Kathie Lee Gifford singing about the joys of cruising.

The brand, which claims to sail more guests than any other cruise line, most recently worked with Anomaly, which used “Fun” as a theme in ads featuring Shaquille O’Neal as the brand’s CFO (chief fun officer). O’Neal will apparently continue being a brand ambassador, and Gifford is still on board with Carnival.

Now, the iconic brand is looking to anchor its place in culture for the next 50 years, with the goal of speaking to new and current customers. 

“We’ve been having lots of conversations about what’s next for the brand, and the Carnival brand is just over 50 years old now. After 50 years of being leader, you want to make sure we’re thinking about what’s next and writing the next chapter,” said Martin Ziegenfuss, who, before coming to Carnival, was svp of global enterprise and brand marketing for Hilton Worldwide, and before that was with Choice Hotels.

Disrupting the cruise industry

It’s not easy to disrupt a category, but Carnival and TBWAChiatDay NY plan on doing so. The brand will use its broad fan base, which Martin Ziegenfuss said is “absolutely passionate about this brand in a way that is absolutely a dream for marketers,” as a guide for much of the communications.

Wilcox set up the challenges and steps needed to create marketing success. They first need to capture and articulate what it is that the most loyal and enthusiastic fans know and feel about the brand, and then figure what is preventing people from choosing the brand and the barriers that marketers need to overcome.

With an iconic hospitality brand like Carnival, much of the work is capturing the stories and data from the cruisers and translating it into coveted experiences.

“If we do our job really well, we’ll capture the energy, the emotion and the end benefit of what a Carnival Cruise actually brings to people, which is much bigger than just a travel experience or a vacation,” said Wilcox.

Martin Ziegenfuss said a lot of the cruise line’s fans are very active in social, so the team is leveraging that social listening, as well as using proprietary first-party data and tools to better understand consumers and find out how Carnival can fit into their lifestyles.

While Carnival has moved on from Anomaly after a successful run starting in 2017, it will continue with Shaq as a brand ambassador and will still play off the concept of fun.

“Fun is definitely in our DNA. We were literally called ‘the fun ships’ in the beginning for a reason, and that goes back to our origin story. It’s all about the energy and what we bring to the table,” said Martin Ziegenfuss.

Details of the deal were not disclosed but the 2023 estimated spend for Carnival Cruise by COMvergence is $76 million, which includes traditional and digital media.