A supply side platform is also called a sales side platform. Essentially it is a software for programmatic buying, This buying has three softwares — SSP, DSP and Ad Exchange. It makes the process automated. These platforms have been invented in the US. SSP facilitates the management of advertising space inventory of the web publishers. SSPs help them fill the space with ads, and receive revenue in return. Large publishers use SSPs to automate and optimise the selling of their online media space.

The SSPs interface with the advertising networks and exchanges. These in turn interface with the demand-side platforms ( DSPs ) serving the advertisers.

This system makes it possible to put online advertising before a select target audience. The transactions are often completed at the DSP end using real-time bidding (RTB).

Some SSPs working in this field are Google, Adform, OpenX, AppNexus, DoubleClick for publishers ( DFP), PubMatic, ExoClick, SpotXchange.

Advertisers or marketers use DSPs and exchanges to buy online advertising. Publishers use SSPs to sell their advertising space inventory of display, video and mobile ads.

Through the exchange, the DSPs buy ad impressions as cheaply and as efficiently as possible. SSPs work for the publishers to do the opposite — to maximise the price at which the impressions are being sold. Technology that powers the SSPs and DSPs is similar.

SSPs connect to multiple ad exchanges, DSPs and networks — all at once. This is an opportunity for the  buyers to purchase the ad space. This is an opportunity for the publishers to get the highest possible rates.

SSPs throw ad impressions into ad exchanges. DSPs analyse and purchase them on behalf of the marketers. While buying, an algorithm matches the clients requirement and the demographics of the users. The impressions must also reach as many potential buyers as possible.

Through real-time auctions, publishers can maximise the revenues for their inventory. SSPs are thus yield-optimisation platforms.

DSPs could drive the value of ad inventory. SSPs counter this. SSPs set price floors which dictate the minimum prices for which their inventory can sell to specific buyers or through specific channels.

There are human sales teams, and SSPs are used to sell inventory which the human sales team fail to sell.

An SSP is a publisher side equivalent of a DSP whose main goal is to maximise revenue for the publisher, and make the dealings comfortable.It is an algorithm consisting of three main variables to decide who gets to win the impression. It is on lines of multiple regression analysis. It has to see which variable has the highest correlation with the output or maximum revenue. Every single time an impression is put up for auction the result change based on the values of the variables. The three variables are RTB, Payouts and DMPs. RTB ensures that 90 to 92 per cent of all bids won impressions are based on the highest bid. In Payouts, the advertiser buys on CPA or CPL basis and gives the publisher a certain percentage of profits.Whenever,  there is a tie for the bid, the SSP sells the impression to the third party who has the highest Payout rate. It happens very rarely. DMP provides SSP with data of the various dimensions of the consumer or user.

Advertising can  use either app or wap. The difference between a mobile app and a browser is that when you use a browser, you can move from one web site to another. However, if an app can have short-cut links to switch apps, then there is no difference. The difference between them blurs. The browser experience will become app like and the app will provide the convenience of a browser.

To an advertiser, what matter is the audience. The way to reach it could be an app or web or social, search or display. That is not so important. Whatever works for the target audience is adopted. The medium is not more important than the consumer. In the beginning, native apps were favoured, as the browsers were slow. However, browsers are more powerful now.

Real time decision making is the focus. Here real-time means real-time optimisation of where the ad is placed and which creative is being shown to which user. How is it to be optimised for the ad and network operator? Real-time cannot be achieved manually. It is to be done programmatically. The programmatic share in mobile display advertising is currently around 30 per cent, whereas more than 75 per cent should be programmatic.

At present, social and search are all programmatic and have real-time optimisation. The rest of the industry needs to follow suit.

More and more people are putting automated trading  for media desks for media procurement. Even creative optimisation is happening real-time.

Branded content offered in the long format  — is it seen or not ? The issue is not the length, but its overall value, its greatness as a story, its entertainment potential and its emotive content. Consumers may not see or find time for a 30-second commercial, but they could for a 30-minute film if it is worth. The audience accepts the message, and then spreads it on its own, without any prompting.

Branded content is a form of advertising medium. It blurs the distinction between advertising and editorial content. It fuses these two into one product, and is offered as editorial content. The production of this content is funded by a particular brand. This has emerged as a category for advertising awards. It is different from branded entertainment and content marketing. Branded Content Marketing Association ( BCMA ) commissioned the following definition of branded content — Any content that can be associated with a brand in the eye of the beholder.

Traditional advertising focused on product. It tries to establish a connect between a product and the audience. Branded content is exactly the opposite of this. It starts with people and spins the people related stories. The attempt is to touch the heart and mind of people. At the end, it is seen how the whole thing can be linked to the company’s product. The connect with the audience is through the stories developed. There cannot be a clear definition of the branded content. Its beauty lies in this. One thing is sure, anything that is worth consumer’s time is branded content.

These days the word content is used more extensively than the word advertising. It has become a sexy buzzword and much that is and was advertising tends to be content now. The term has been coined since 2001. Branded Content Marketing Association was set up in 2003. Branded content is native advertising for all different platforms where people share content.

Just a story line does not make branded content. Just association of product to the story line is sponsorship. True branded content focuses on one brand. There is branded content for multiple platforms which feature multiple brands. Producers at times do not involve brands in developing content. Ad agencies are interested in longer formats. Branded content to begin with is content, which is likable, creative and meets the brands objectives, and is good enough to command prime time slot.

Branded content is becoming one of the fastest growing forms of marketing. Branded content is effective when it is seamlessly integrated with the editorial content without being intrusive. Its RoI is led by the number of views. Time is spent with the client to understand the target consumer base, business challenges and the main message to be conveyed. The team then comes up with the content ideas which are relatable to the target audience where the messaging can be seamlessly integrated. There is power tussle between the editorial and commercial teams. Branded content needs to be message-first while TVCs are always brand-first.

It is necessary to avoid me-too strategy. The dynamics of engaging with consumers are changing rapidly. There are flourishing communities around any topic on social media, e.g. home gardening, Chinese food, green tea lover, budget traveller etc. We have to understand these communities to permeate them. The content served must be in tune with their beliefs. It should be culturally relevant to resonate with them.

Many brands are investing in branded entertainment. They create internal content studios to build content. They create IPs and monetise the distribution rights.

What started as the linear monologue-type in-your-face communication as branded content is evolving into a subtle two-way communication alive to the importance of consumer’s time and space. TVCs used to be noisy. Print ads used to be superlative. The formats these days are easy, engaging, immersive and hang on compelling colloquial hooks. Brand communication is transforming itself from its traditional avtar to a new age languid and charming story-telling.

Brands do tell the stories just like humans. This story must inspire, entertain and engage. Branded content enters the space here. Branded content is steeped in some strong beliefs. It is rooted to a cause.

Branded content is format agnostic. It could be anything — a short story, music video, web series, print execution, a serial documentary. What is needed is a powerful idea and the execution expertise of storytelling that touches a raw nerve somewhere.

It is estimated the branded content accounts for 8-10 percent of media budgets.

The salient features are :

a.     a powerful idea

b.     skilful execution

c.     truthful and authentic

d.     fluid narrative

e.     actual stories built on empathy and credibility

f.     fun and games could be added.

g.     the longer the campaign, the bigger the challenge.

h.     good for recall and image.

Branded content is now in demand in the digital space, but since long TV content creators and executive producers have been creating branded content, e.g. Roadies, Bakra, fully Faltoo etc. Some music properties of MTV were India’s early experiment with branded content. In digital space, branded content has received a new life. More and more brands are becoming publishers. They try to arrest attention across the platforms. There are portals to sell content such as 101India.com and Great Indian Content Bazaar. Some of these are prolific producers of videos for very low prices. The quantity produced is huge, and these are reversioned for platforms such as memes, gifs, still images, apps which add graphic layers, six-second vines, 14-second instagrams, Facebook edits, graphic layers and so on. Let us call it a noise factory. Its a huge deluge of branded content. This is the beginning. In the second phase, instead of quantity, quality will be emphasised. The brands will have to make engaging and engrossing content. People stories will resonate more than product features stories. Branded content will compete with sport, news, comedy and much more across the world. It will also compete with the off screen activities of the viewer.

Imagine an old man resolving to create a mini Taj for his departed wife. It will generate interest as he is honest in his love. Any brand that talks about love could benefit with the association.

Fiction can be sponsored. A web series can be made . Rom coms and sex comedies can be made.

The power of association will benefit the brand.

 

Humans love to engage with moving images, and that makes videos omnipresent. Online video is changing the way companies in India interact with customers and drive business results. Viewers prefer real time raw action. Brands should leverage real time  authentic content. If viewers find amazing videos, they have a tendency to share them. A story can be told in multiple clips rather than in a long video. Interactivity can be added with GIFs, Vines and conversational video. Videos should be able to come to life with or without sound. Audio could be made optional. Half the video ad impressions are never seen , and marketers have to find ways to maximise returns on video investment. Brand should target the audience during key moments when it matters. You can utilise video to acquaint your consumers with your app.