VideoEgg, the video ad network for social communities, has launched AdFrames, a format that can run video ads in any environment with a cost per click payment system that is no longer impression based.
Microsoft, 02 and Paramount Pictures are the first users.
AdFrames play in a variety of sizes so they can play in a variety of spaces. “There are a rash of new environments that need to be monetized, like widgets, games and small spaces,” said Troy Young, VideoEgg’s chief marketing officer. “We wanted to integrate the ad experience and fill spaces that publishers can’t fill.”
The videos fill the different spaces and then expand when clicked to take up the page. The goal for advertisers and publishers is to have the ads expand so the video plays. “Impressions aren’t where the money is made, the money is made when the user rolls over and the ad counts,” Young said. “Publishers are paid when the ad expands, so we wanted to create something that always expands, is always rich.”
The pricing model is engagement based instead of impression based. “We’re shifting where the pricing is further down the line, which forces us to optimize our system for advertisers,” Young said. Impressions remain important because the goal is to “push impressions to the target demographic and optimize around the highest performing sites in our network.” The higher the number of impressions that can be sent to the sites, the higher number of engagements will be achieved, which is when the pricing starts.
The model may be detrimental to publishers who can’t generate enough roll overs. But those are publishers Young isn’t interested in retaining. “Some pages have higher media value and get engagement rates of five to eight percent, while others get a half percent or less,” Young said. “This is due to on page placement, how users move through the environment and the number of users on the page. The publishers who deliver the highest media value get paid the most.”
VideoEgg is a network of over 200 social networks, video and gaming sites, including Bebo, Hi5, imeem, Metacafe and Buzznet. AdFrames is a format that can used by network publishers. “We’re not selling a rich media service to advertisers, we’re not competing with Eyeblaster, we’re giving our publishers the rich media tools to run their campaigns,” Young said.
Lensing and Designing Brady Corbet’s “The Brutalist”
Cinematographer Lol Crawley, BSC and production designer Judy Becker collaborated for the first time on The Brutalist (A24) and emerged as Oscar nominees in their respectiveย disciplines. Their work on the film has also earned major recognition elsewhere on the industry awards circuit. Just this week, Crawley won the British Society of Cinematographersโ Feature Film Award. He also is currently a nominee for both an ASC Award and a BAFTA Film Award. And Becker received nominations for a BAFTA Film Award and an Art Directors Guild (ADG) Excellence in Production Design Award. Crawley and Becker, though, traversed distinctly different paths to The Brutalist, being on opposite ends of the collaborative continuum with director and co-writer Brady Corbet going into the film. Crawley had already shot two features for Corbet prior to The Brutalist--The Childhood of a Leader (2015) and Vox Lux (2018). In sharp contrast, The Brutalist marked Beckerโs first time working with Corbet. Becker recalled seeing The Childhood of a Leader and immediately wanting to design for Corbet. Describing herself as โstunnedโ by the film, she related that it reflected Corbetโs talent as a filmmaker, his ability to work within a budget on a period movie and still deliver an end product that looked fantastic while brilliantly telling a story. Becker noted that a big budget period film replete with tons of set dressing, over-dressed locations and the like misses the mark for her. She asked, โWhy waste that money?โ But when Becker sees a period movie with a pared down budget that looks so good, โIโm really blown away.โ Based on The Childhood of a Leader, Becker told her agent that sheโd love to... Read More