3. Buying/Trading Flashcards

1
Q

The Buying Process for Agency (9 steps)

A
  1. MBA Media Buying Authorisation/Buying Brief
  2. Develop pre-buy, including sourcing important information such as market conditions
  3. Set up schedule in buying software, e.g. SMD
    3a. Buy on screen (and send buy to the networks)
    3b. Brief networks for a proposal
  4. Evaluate the buy against campaign goals, replace NAs and finalise buy with network
  5. Final check that holdings matches buy
  6. Track, make adjustments and optimise buy as required
  7. Post Analysis and track
  8. Makegoods
  9. Final post campaign reports for the client
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2
Q

The process for the seller (Networks/TV Broadcasters) - 9 steps

A
  1. Agency to send spot booking to the sales team
  2. Sales to manually book
  3. NAs (unavailable spots) will update in Holdings
  4. Network and agency to negotiate NA replacements
  5. Network to book and confirm activity
  6. Sales to manage changes are requested by the agency
  7. Traffic to manage placement and material
  8. Networks to confirm additional added value
  9. Makegood airtime for spots that have not gone to air, not gone to air as booked or if TARP/Audience delivery is less than planned.
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3
Q

Timeline

A
  • 13 weeks prior: Campaign approval and booking
  • 12 weeks prior: NA replacements
  • 9 weeks prior: Buy summary to client
  • 2 weeks prior: Final Buy to client
  • 1 week prior: Spot list to client
  • Weekly: Campaign tracking/optimisation
  • 4 weeks post campaign: Post Report
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4
Q

4 Different Buying Methods

A
  1. On screen (fixed placement)
  2. Brief to Network (fixed placement)
  3. Dynamic & Automated (non-fixed placement)
  4. Addressable
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5
Q
  1. Brief the Network
A
  • Includes Target Audience, weekly required TARPs (R&F goals), weeks on air and budget
  • The network responds with a prop
  • The buyer needs to check for Quality and CPMs (cost efficiency) and that they are happy with the survey weeks the TV Network is using
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6
Q
  1. Dynamic & Automated
A

Aka Advanced Advertising and is sold on a CPM and impression basis

  • Audience or impressions are guaranteed
  • Done by frequent optimising across day-parts rather than programming
  • Executed using software automation
  • The buyer briefs the networks on budget, CPM, impressions and any exclusions
  • The buyer has no control on specific spot placements
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7
Q
  1. Addressable
A

Only on BVOD
- Can be bought on a segment rather than demographic

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8
Q

When to brief the networks

A
  1. Short lead time (under 4 weeks)
  2. Availability pressures in market
  3. Program specific requirements
  4. CPM deliverables
  5. Sponsorships - can ask if competitors are sponsoring any programs you’re considering as well
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9
Q

When to buy on screen

A
  1. Soft market conditions
  2. Long leads times (13 weeks or more)
  3. Client specific parameters (e.g. program/genre inclusions or exclusions)
  4. Program quality
  5. MORE CONTROL
  6. Combination of commercial lengths being placed to tell a story
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10
Q

Pros of Briefing the Networks

A
  • Networks may be able to find available inventory
  • It is quicker than buying off-screen
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11
Q

Cons of Briefing the Networks

A
  • Delay in Network responses
  • Program selection may not be what the buyer wants
  • May not meet r&f requirements
  • Lack of control and overall visibility
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12
Q

Pros of Buying on Screen

A
  • The buyer selects the programs
  • The buyer manages r&f across all networks
  • The buyer can review the reach build
  • It is quicker, as you are not waiting for props
  • Ensures accurate TARP estimates
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13
Q

Cons of Buying off-screen

A
  • Time consuming
  • Network custom surveys (may not match your selection)
  • Airtime not available
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14
Q

Pros of dynamic and automated buying

A
  • Guaranteed audience delivery
  • Guaranteed CPM
  • Easy to manage pre-campaign
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15
Q

Cons of dynamic and automated buying

A
  • No visibility of programming
  • Not able to provide a spot list to client
  • Can be a little difficult to incorporate into an on-screen buy
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16
Q

How to buy addressable

A
  • Direct IO buy with the TV networks
  • Programmatic buy via a trading desk.
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17
Q

Approved combinations to run r&f

A
  • Metro + Subscription
  • Regional + Subscription (Agg markets)
  • National Subscription
  • Regional Combined panel (sub-market level)
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18
Q

Metro Market Potentials

A

17,695,740, i.e., 67% of population.

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19
Q

Aggregated Market Potentials

A

Aggregated markets total 7,917,520, i.e., 30% of population.

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20
Q

Solus markets potentials

A

Other markets (Solus markets) total 917,000 i.e., 3% of population.

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21
Q

TV Market audience potentials

A

Melbourne (5.3M)
Mildura (65k)

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22
Q

SAS representation

A

Seven Affiliate Sales sell the Seven Network owned programming on the Prime Television Network and
Seven Queensland in all markets excluding Tasmania, where Southern Cross broadcast the Seven Network
programming.

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23
Q

WIN representation

A

WIN represents Nine Network programming in Southern NSW, Victoria and Queensland. In Northern
NSW, Western Australia and Tasmania it represents both Nine and Ten programming.

24
Q

SCA representation

A

Southern Cross Media represents Ten in Southern NSW, Victoria and Queensland, as well as Seven in
Tasmania (as mentioned above)

25
SBS representation
SBS represents its own channels (SBS, SBS Viceland, SBS Food and SBS World Movies as well as NITV) in regional markets - however please note that the regional NSW market is sold as a whole, and not split between Northern and Southern NSW.
26
Main Channel Codes
Sydney - N, Melbourne - V
27
Multichannel codes
GOSYD
28
Agency Commission
A rebate paid by media suppliers in return for media bookings. Traditionally 10% of media spend is rebated back to the agency at invoice stage. The media agency will have agreed terms (client/agency contract) that will outline what % of the commission the agency keeps as their fee for work and the rest is rebated back to the client (on the invoice it will show as a commission discount on gross media). Example: If your Gross media spend is $100,000 the agency commission would be $10,000, therefore the invoice from the media will be $90,000.
29
Gross cost
Gross cost is the media cost, which includes 10% agency commission. It does not include GST. Most common term used in discussions with TV networks. Example: If your media cost is $100,000 and the agency commission is 10% ($10,000), you would not deduct agency commission. Gross cost is the full cost media cost, i.e., $100,000.
30
Net Cost
1. Net cost to media, which is media cost excluding commission. For example: Gross media cost ($10,000). Discussions with the media is always gross media cost. Less 10% commission or times by 0.9 ($10,000*0.9 = $9,000). $9,000 is the net media cost. 2. Net cost to client. The way this is determined varies by client. The service fee can be charged on Gross or Net Media Cost. Ensure you always check with your team. This example is based on Net cost to client. The calculation would be, Net media, plus client fees (commission rebate or service fee), plus media levy (which is calculated on gross media). For example: Gross media cost (e.g., $10,000) Net media ($10,000 less 10% commission is $9,000) Plus client fee ($9,000*.05 = $450) note 0.05 is an example, and client contracts vary Plus media levy ($10,000*0.0005 = $5.00) Net Cost to Client is $9,000+$450+$5.00 = $9,455.00
31
Media Levy
The Media Levy is used to fund the Industry Self Regulation system, Ad Standards. Ad Standards is owned by the AANA (Australian Association of National Advertisers), but is independent. The cheque gets sent to the AANA who administers it to Ad Standards. It is an opt-out (optional) levy. The levy is 0.05% of gross media and paid by advertisers.
32
Spot-monitoring fee
Fee charged for the third party verification of TV spot appearance for Post Analysis. This fee is charged from Third-Party suppliers such as Nielsen to an Agency for the data. The data received at an Agency will detail the exact time the spot appeared, the program name and position in break. Generally, this fee may be passed onto the client which is known as the Spot Monitoring Fee. This will vary by agency and by client contract and may not be passed on at all.
33
GST
Goods & Services Tax. Federal government tax of 10% of the cost of goods or services, including media bookings (this applies to all companies unless they are exempt). The TV Networks will include GST on the Net total, and 10% is added to the agency invoice (to the client) on net spend. Some clients will require this to be outlined on the media plan, so they have the full spend picture.
34
Network budget splits
The share of budget to be allocated to each network according to negotiated deals. Example: Network deals were 35% to Seven; 35% to Nine; 30% to Ten. Budget $1m. Seven network budget = $1m x 0.35 = $350,000 Nine network budget = $1m x 0.35 = $350,000 Ten network budget = $1m x 0.30 = $300,000
35
Tolerance
The agreed % of audience delivery of your actualised TARPs v bought. Example: In general the networks will guarantee to deliver TARPs +/- 10% of your booked TARPs. This tolerance level can alter depending on Network, agency deals, so it is very important you are across these details and discuss them with your sales rep. This tolerance level is generally agreed with networks to be based on consolidated 15 min delivered TARPs.
36
Cancellation deadlines
Refers to a period of time activity needs to be cancelled by, without penalty to the client. This period can vary at different times of the year, and can vary based on client or agency deals, so always make sure you know what it is. Historically the last quarter can have longer cancellation deadlines. Standard deadlines are: FTA = 4 weeks STV = 6 weeks
37
Delete & Charge
If activity needs to be cancelled within the cancellation deadline, it will need to be “Delete & Charge”, also known as D&C. Meaning the spots do not go to-air but the cost of the airtime booked is still invoiced to the client. The value of the airtime can be rebooked at no charge at a later stage, but it's important to understand that Delete & Charge should always be the last resort for a client, as re-booking the airtime in programs that you want can be difficult, particularly in a high demand market. Also if the airtime that is Delete & Charge was originally booked in March and then the client wants to rebook the value of that airtime in September, they will get less for their money i.e. March is a cheaper rate card than September.
38
Drop & Charge
If activity needs to be cancelled 3 days or less prior to the activity going live, it will need to be “Drop & Charge”. This means the spots do not go to-air and the cost of the airtime booked is still invoiced to the client but the value cannot be recouped at a later date. Check with your agency what is their agreed policy with the networks for Drop & Charge.
39
Main Trading Currency for FTA
TARPs
40
Main Trading Currency for STV
Audiences 000s
41
TARPs approach to TV Buying
A TARP goal means that spots can be bought anywhere, including low demand off Peak areas. TARPs don’t indicate how many different people you are reaching or how many times. ● For example - a TARP of 10 could mean 1% of the target audience saw an ad 10 times or that 10% of the target audience saw it once. ● Historically TARPs were the main type of TV goal, however now there are various tools that can assist to determine the reach of the audience and how many times they’ve seen the ad (frequency). No one TARP is alike or the same.
42
Reach approach to TV buying
Reach – Reach is a more targeted approach to TV Buying. ● More accurate and reflective of the actual delivery of the audience. ● For example - a 1+ Reach of 10% means 10% of the target audience saw an ad at least once. ● Reach also caters to different market viewing habits. Reach also has different market cost efficiencies, as the same reach in each market can mean very different TARP goals and hence cost. When a media plan has a 50% 1+ reach goal in each market of Sydney, Melbourne and Brisbane, you will likely need to buy different TARP weights in each of those markets to deliver the 50% 1+ reach. The reason for this is a combination of different viewing levels and potentials for each market. For example, 50% 1+ Sydney = 200 TARPs 50% 1+ Melbourne = 170 TARPs 50% 1+ Brisbane = 180 TARPs
43
Primary goals of TV campaign
Reach & Frequency
44
Secondary goal of TV campaign
TARPs Necessary as they demonstrate how much it will cost to deliver the reach goal against the target audience.
45
What helps build TV Reach? (Low frequency)
1. Strong Sunday/Monday buy 2. High rating programs 3. Tracking unduplicated audience viewing 4. Road blocking (Select same time slot on each network, audience isn't watching all at once) 5. Varied programming
46
What helps build TV Frequency?
1. Double spotting 2. Strip programming e.g. News on every day of the week 3. Top and Tail 4. Similar programming 5. Adjacent programming e.g. consecutive shows on the same network
47
How to buy to TARPs
- Rank programs in SMD by CPT - Look outside the list if you have a program genre to include
48
How to weight TARPs to get estimates across multiple markets
TARPs cannot be added up across markets To get a total TARP estimate across multiple markets, you need to weight TARPs by each market’s % of the population. How to calculate this: * You first need to know the audience potential of each market - to work out what that market potential represents as a percentage of the total population. * Then apply that percentage against the market TARPs, continue for each market and add together for the total.
49
Live (Linear) TV
Live (Linear) TV Linear TV is received via an aerial, satellite or cable. i.e., any TV that is not viewed over the
50
Playback TV
Playback TV Linear TV recorded on a Personal Video Recorder (PVR) or other form of time-shifted technology and watched after the time of Live broadcast. Also referred to as Time-Shifted TV.
51
BVOD
Broadcaster Video on Demand (BVOD) ● TV watched online is BVOD. ● It can be watched either Live (via live streaming) or On Demand and is available via a set top box, personal computer, mobile device or connected TV. ● BVOD content is professionally produced, broadcast quality and includes TV shows and movies, archived shows and BVOD exclusive and originals. Sometimes referred to as Catch-up TV.
52
Live Streaming
Live Streaming BVOD watched over the internet at the time it is broadcasted.
53
On Demand
On Demand BVOD watched over the internet at any time other than at the time of original broadcast.
54
VOD
Video on Demand (VOD) A facility offered by online video providers (not just broadcasters) where households or individuals can access a movie, program or clip that can be watched at any time on any device.
55
AVOD
Advertiser-funded Video on Demand (AVOD) Any type of VOD service that is funded by the inclusion of advertising in between programs, movies or clips. This includes both BVOD services and services where the content is more heavily skewed to User- Generated Content (UGC) such as YouTube.
56
SVOD
Subscription Video on Demand (SVOD) A type of Video On Demand service where a user pays a regular subscription to watch content. Most SVOD services are non-commercial and don’t contain advertising. Netflix, Amazon Prime, Disney+ and Stan are the major players in Australia. Paramount+, KAYO and Binge are other examples of SVOD services, with a lesser number of subscribers. Due the increase in consumption of SVOD services, it is expected that there will be many more players entering the market in the coming years.