Super Bowl spots are still the hottest ticket in advertising.
NBC has sold all the commercial airtime for the Feb. 5 game in Indianapolis and even has a waiting list of advertisers. The average cost for a 30-second spot this year was $3.5 million, with some time slots costing as much as $4 million.
Seth Winter, senior vice president of NBC Sports group sales & marketing, said in a recent interview that the last time slot was sold just after Thanksgiving. A year ago, Fox Sports said it sold the last of its advertising spots before the end of October.
Slots are still available during NBC’s pregame show, and those on the waiting list for the Super Bowl will have an opportunity to advertise if other companies give up their slot.
“There are the usual companies that have supported it in the past,” Winter said. “Automotive will be very healthy. Beverages will be very healthy. The movie and snack category continue to be healthy. There will be a few new players and some who have been there, who won’t be there.”
Winter declined to identify which companies bought ads or dropped out, fearing it could tip off competitors. Anheuser-Busch InBev, Coca-Cola and Godaddy.com are among the recent regulars.
The biggest change this year, Winter said, is advertisers are booking longer spots to showcase their creativity.
“Some of the things I’ve seen are astonishing,” Winter said. “I think you’ll see a lot of ads that are humorous and action-filled, with a range of different types of executions. We haven’t seen everything yet; we don’t see everything until almost the week of (the game).”
The ads must comply with network and NFL standards.
Sports fans also might see the ads more regularly, thanks to NBC’s merger with Comcast. NBC officials have used the Super Bowl to sell advertisers on its expanding family of networks, including NBC Sports Network (formerly Versus) and The Golf Channel.
Oscar Nominees Delve Into The Art Of Editing At ACE Session
You couldn’t miss Sean Baker at this past Sunday’s Oscar ceremony where he won for Best Picture, Directing, Original Screenplay and Editing on the strength of Anora. However, earlier that weekend he was in transit from the Cesar Awards in Paris and thus couldn’t attend the American Cinema Editors (ACE) 25th annual panel of Academy Award-nominated film editors held at the Regal LA Live Auditorium on Saturday (3/1) in Los Angeles. While the eventual Oscar winner in the editing category was missed by those who turned out for the ACE “Invisible Art, Visible Artists” session, three of Baker’s fellow nominees were on hand--Dávid Jancsó, HSE for The Brutalist; Nick Emerson for Conclave; and Myron Kerstein, ACE for Wicked. Additionally, Juliette Welfling, who couldn’t appear in person due to the Cesar Awards, was present via an earlier recorded video interview to discuss her work on Emilia Pérez. The interview was conducted by ACE president and editor Sabrina Plisco, ACE who also moderated the live panel discussion. Kerstein said that he was the beneficiary of brilliant and generous collaborators, citing, among others, director Jon M. Chu, cinematographer Alice Brooks, and visual effects supervisor Pablo Helman. The editor added it always helps to have stellar acting performances, noting that hearing Cynthia Erivo, for example, sing live was a revelation. Kerstein recalled meeting Chu some eight years ago on a “blind Skype date” and it was an instant “bromance”--which began on Crazy Rich Asians, and then continued on such projects as the streaming series Home Before Dark and the feature In The Heights. Kerstein observed that Chu is expert in providing collaborators with... Read More