Summary
This presentation discusses media measurement and ROI in the UK. It questions if planners are focussing on the wrong KPI metrics. Instead it is suggested that the formation of genuine media partnerships and the 'shareability' of a campaign may serve as better performance indicators.

Summary
A round-up of presentations from Measuring Advertising Performance (MAP) 2013 – a conference organised by Warc and featuring latest insights on planning, measuring and executing great ad campaigns. Many presentations showed shared themes, including the various ways marketers can analyse consumer emotions and distinguish between rational and subliminal thinking. There was also a trend towards defending more traditional ways of advertising, with TV revealed to remain an effective media channel, despite the hype around new media.

Summary
Should Tim Berners-Lee's dream of the Semantic Web and the rise of intelligent software that can filter information, mine data and make decisions for us come true, will advertising become just another algorithm, with no need for ad agencies or planners? In this column, Tracey Follows looks at the difference between knowledge and wisdom and argues that planners will always have the wisdom to transform the worldwide web's information into real and useful knowledge.

Summary
New media channels are emerging all the time but there is no automatic driver that encourages the adoption of new media channels, and marketers themselves may be disinclined to make changes. An approach to channel innovation is derived from The Coca-Cola Company's model for investing in creative content: the 70|20|10 investment principle. For media, it is suggested that 70% of spend should be allocated to established channels as appropriate for category and country. 20% should go on innovation around what has worked in the past. The final 10% is allocated to genuine experimentation with new and emerging channels. The same 70|20|10 principle should be applied to research budgets too. In practice when assessing how a current media budget stacks up against 70|20|10, it is important to consider all the costs involved in a particular channel.

Summary
With ever-growing pressure on budgets, advertisers need to maximise the effectiveness of their campaigns. These 10 lessons of media planning derive from an analysis of IPSOS tracking data of 2,500 campaigns, and feature a range of broad conclusions. Creative is king, but understanding the whole picture will get the best results. Ultimately outspending your rivals on various media channels is unlikely to achieve the recall you want for your ad or brand and a more measured approach needs to be taken. Bear in mind such lessons as: ads are unlikely to 'wear-in' - that is, a poorly performing ad will not get better recall by spending more money on media after the initial burst; persuasion peaks quickly after airing; and share of voice is not as important as one might think.

Summary
This Warc Best Practice paper is an extract from Hamish Pringle and Jim Marshall's 2011 book Spending Advertising Money in the Digital Age: How to Navigate the Media Flow. It argues that many media budgeting methods lack rigour. But there is a growing consensus that using the relationship between SOV (share of voice) and SOM (market share) as the most important determinant of the budget level required. Generally, media budgeting is seen as a sophisticated analytical process which requires accurate information on the brand's competitive set, its status within it, and the history of advertising and media expenditure in its category. And the paper goes on to argue that brands that spend enough money and marshal all their media resources to provide more prominent and multiple touch points for their customers do better than those who under-invest.

Summary
This Warc Best Practice paper is an extract from Hamish Pringle and Jim Marshall's 2011 book Spending Advertising Money in the Digital Age: How to Navigate the Media Flow. It argues that the client brief often does not supply sufficient, clear, or even accurate information. The ideal brief, the formulation of which is as much the agency media strategist's responsibility as the client's, should be based on five questions: 1. Where are we now?, 2. Where do we want to be?, 3. What are we doing to get there?, 4. Who do we need to talk to? and 5. How will we know when we have arrived? In summary, the paper urges all media strategists to ensure they have a good brief from their client which includes a clear and focused hard business objective for the brand to achieve.

Summary
This paper describes EQ, a framework that reveals the emotional drivers behind peoples' media choices. EQ concentrates on emotional, rather than rational responses; the developers hoped that improving the client's understanding of emotional context would help them to add a human dimension to their planning. This would ultimately strengthen their messages and ideas by placing them in the best possible emotional context. EQ's development was partly based on survey research that took place across several waves, talking to over 32,000 people regarding 800 media properties. Insights derived from EQ include the fact that media properties previously thought to be interchangeable often fulfilled different motives, and that several media properties that seem entirely different actually fulfil the same motives. Moreover, over 70% of the U.S. agency's clients have been exposed to EQ and have been unanimously enthusiastic.

Summary
In times of economic uncertainty, marketers tend to shift their focus from long-term strategy to short-term sales. However, lessons from recent recessions provide powerful arguments for maintaining a longer-term view, even in the face of pressure to cut advertising in favor of promotions. Marketers who resist this pressure and use their budgets effectively and creatively will find that their brands emerge from the tough times in good competitive shape.

Summary
The term 'transmedia' is a current buzzword on Madison Avenue. Joe Mandese reveals why he loves the nuances of transmedia but ultimately why he believes the idea of transmedia storytelling has always been a fundamental part of great advertising. Consumers have always been involved in shaping the long-term story of a brand, the one that crosses all the media, all the ads and all the strategies they are exposed to during their relationship with a brand. The term might not be around for very long, but the concept will be.