May6

Visual Storytelling Part II: Audience Engagement in 4 Steps [Infographic]

Visual-Storytelling-Part-2_ThumbPlease click on the thumbnail to the left to view full infographic.

 

 

 

 

Check out Visual Storytelling Part I: Plot Your Presentation [Infographic]

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Apr3

Benefits of Rich Media

The digital pharmaceutical advertising market is proving to be a growing and changing market.  Gradually over the past couple of years, more innovative tactics have become more relevant. Rich media is one tactic that has become more widely accepted not only by pharma companies and advertisers, but also by publishers. Some of you may be asking, what is rich media and why is it becoming more popular?

Rich Media Banner—This is an ad that can contain images and/or video and involves some kind of user interaction which can elicit strong user response. The ads can include multiple levels of content in one placement.

what_is_rich_media_small

 

 

The benefits of using rich media:

Ads Expand—The creative expands when the user interacts with the main image (for example, by clicking or mousing over it). This allows for a larger area to display more robust information, creative artwork and messaging while still being able to include a scrolling ISI and creative assets (videos, clinical data, polls/surveys, etc).

Breaks Through Banner Blindness—Banner blindness is a phenomenon in web usability where visitors to a website consciously or subconsciously ignore banner-like information, which can also be called ad blindness or banner noise. Rich media ads are more attention-grabbing and interactive, which helps separate them from being banner-like. Rich media banners also have proven to outperform standard display banners in key metrics such as time spent and interaction rate.

Information—Rich media banners can contain a significant amount of information, especially compared to standard display ads. This information can consist of videos, charts, clinical data, polls/surveys, or multiple creative messages. This allows advertisers to reach a larger target audience while also providing more options for multi-indication brands in one banner ad.

Metrics—The metrics in rich media banners are also greatly improved. Rich media offers standard metrics and also custom metrics. Standard metrics are more commonly known and consist of metrics like total display time, number of expansions, interactive impressions, and interactive rate. Custom metrics are added to components within a rich media banner, and only three different types are used: exits, counters and timer. These custom metrics can actually track a variety of calls to action within a rich media banner, like links within the banner, time spent on certain screens or data, and of course any click-through calls to action. These robust metrics offer a huge advantage over standard display banners which rely heavily on impressions and clicks.

User Experience—Overall user experience is improved through the use of rich media. The creative messaging can be so robust within a rich media banner that a call to action such as a click-through is not required. This actually allows users to stay on the same page where they saw the rich media banner, as opposed to clicking on a non-rich media banner that takes them to an entirely new page.

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Feb11

How Digitally Savvy Are You? See How You Would Answer the Top 10 Digital Ad Trafficking FAQs

5511521Think you are a brainiac when it comes to digital advertising?  Or do you need a quick refresher on how it all works? The true/false quiz below provides an overview of 10 frequently asked questions regarding digital advertising and the trafficking process.

Q: Most consumer and pharmaceutical websites accept the IAB standard units, also known as the Universal Ad Package: 300×250 (Medium Rectangle), 160×600 (Wide Skyscraper), and 728×90 (Leaderboard).

A: TRUE.

1-       Ad units are labeled based on dimensions (in pixels) of width x height.

2-       While the IAB recently added a fourth size to the Universal Ad Package (180×150 / Rectangle), many pharmaceutical websites have not yet implemented this unit.

Source: http://www.iab.net/guidelines/508676/508767/UAP

Q: Static backups are not required for rich media and Flash banners.

A: FALSE. Static backups are required for all rich media and Flash banner sizes.

1-       If for some reason a user’s Flash player is not functioning properly or if their browser is older and cannot handle more advanced creative assets, the static backup will be displayed in place of the Flash creative. This ensures that whenever an impression is supposed to be served for a campaign, it will be served (even if it is the static backup).

2-       Expandable rich media banners only require static backups for the smaller, unexpanded size.

Source: https://support.google.com/dfa/answer/151646?hl=en

Q: There are no file size restrictions for digital banners.

A: FALSE. Digital banners must be built in 40k or less. 

1-       Static backup banners must be under 40k.

2-       If the Flash banner cannot be built in under 40k, it must either be built as parent/child Flash or as rich media files (depends on ad functionality and client/creative agency preference).

Source: http://www.iab.net/guidelines/508676/508767/displayguidelines

 Q: To “traffic” digital ads, we (the media agency) send the creative directly to the website on which we purchased digital ads.

A: FALSE. We utilize a third-party ad server, DFA, to serve digital banners in most instances.

1-       DFA (aka DART, aka DoubleClick for Advertisers) streamlines the digital trafficking process in a few steps:

  1. We upload media placements and digital banner creative(s) into DFA
  2. We match the placements with the appropriate creative
  3. We export Ad Tags for the placements/creative above, send them to partner websites, and the sites upload them onto the webpages on which we purchased media.
  4. This is where the magic happens. As the page loads when a user visits a site, the site calls on DFA to supply the creative to be displayed in this placement. If it’s our brand’s turn to serve an impression, our creative will be displayed. If we are running multiple creatives, DFA also knows which of our creative’s turn it is based on the rotation we specified. DFA then allows us to track activity on the backend (whether a user clicks on the ad, etc.).

2-       Some websites do not allow or are not capable of accepting third-party trafficking. This is the only instance in which we would not utilize DFA to serve digital banners.

3-       For more information:

  1. http://www.google.com/doubleclick/advertisers/
  2. https://support.google.com/dfa/#topic=2485971

Q: Recommended animation length (for Flash and in-banner videos) is two minutes.

A: FALSE. Best practice and industry standard animation length is 15 seconds.

1-       It is widely believed that after 15 seconds, a user’s attention has already shifted from the banner to other parts of the site, potentially causing a decreased click-through-rate (as a user will miss the primary call-to-action if it occurs after the 15-second mark).

2-       Some websites do not have the capability to serve animation/videos that are longer than :15s; however, some sites will grant case-by-case exceptions if the animation length must be longer due to the amount of important safety information the ad is required to include.

Q: Flash is fully replaceable by HTML5.

A: FALSE. Though HTML5 is an important (and intriguing!) new tool for the creation of rich media and mobile banners, the desktop market is not yet fully prepared to serve HTML5 ads, as many older web browsers do not accept this format. If digital banners are solely built in HTML5, a brand risks frequently running static backups whenever a user’s web browser has not recently been updated.

Q: It is possible to preview a Flash (.swf) creative file without downloading the appropriate software.

A: TRUE. The Flash Validator tool allows you to upload and preview Flash (.swf) files.

1-       This tool not only allows you to preview the creative (how it looks and how the animation works), but it also shows the Flash version the ad was built in, the ad dimensions, the file size, etc.

2-       Tool: https://flashval-temp.appspot.com/validator/

Q: We can track activity on a brand’s website for users who saw our ad, but did not click.

A: TRUE. If the campaign has implemented Ad Tags and Floodlight Tags, we can track viewthrough activity in addition to post-click activity.

1-       Ad Tag—HTML tags generated by DFA and sent to the sites in a campaign. DFA generates unique tags for each placement in a campaign.

2-       Floodlight Tag—HTML code that is placed on a brand’s website to analyze consumer behavior on site after a user has clicked or viewed their ad. When a user views or clicks an ad, and then performs an activity on an advertiser’s webpage that contains Floodlight tags, DFA records and reports on that activity.

Source: https://support.google.com/dfa/topic/20441?hl=en&ref_topic=2485971

Q: Custom e-blasts cannot be tracked through a third-party server.

A: FALSE. We can track clicks on custom e-blasts through DFA if the e-blast creator/distributor includes a click-tracker (1×1) in the e-mail clickthrough URL. Note that some vendors allow and are able to include click-trackers on their custom e-blasts, and some are not.

Q: Black box products cannot run branded Smartphone banners.

A: FALSE. The new IAB Mobile Rising Stars banners allow unbranded banners to expand into branded banners.

Source: http://www.iab.net/risingstarsmobile

Have more questions? Below are a few great places to start, or feel free to reach out to anyone on the Ogilvy CommonHealth Medical Media team!

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Feb4

Visual Storytelling Part I: Plot Your Presentation [Infographic]

Visual-Storytelling-PartI_650

 

Check out Visual Storytelling Part II: Audience Engagement in 4 Steps [Infographic]

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Jan10

Flexing Our Creative Muscles

flexing our muscles thumbnailIt takes lots of hard work and dedication to achieve your goals for a healthier lifestyle. It focuses on nutrition, physical activity and resiliency, and is individualized to your specific needs. Running the Ogilvy CommonHealth Imaging department is comparable to this in many ways, as I apply the same approach in servicing all Art and Creative Directors. Expectations are high, utilizing our confidence, capabilities and talent to deliver.

It Starts With Healthy Living
Just as in planning my daily and weekly workout routine, the Imaging team prepares by being mentally and physically fresh. It’s important to keep up with the latest technology and current software and hardware upgrades. Every day is a learning experience, especially in the CGI environment.
Wellness in the Imaging Department
The team keeps in top shape by utilizing powerful 3D graphics and software. This has allowed us to take our imaging capabilities to the highest levels conceptually and to produce final printed or digital art.
Increased Strength and Endurance
Creating and conceptualizing art for new brands and new business pitches requires an extreme amount of strength and endurance. We take creative teams’ and individuals’ ideas to a whole new level, allowing them to achieve their visions and ideas, and bringing them alive through the Imaging team’s strength, expertise and resources.
Preparation and Mental Toughness
It takes extreme preparation and execution from our digital artists to create that perfect and unique piece of art. Understanding the “why” is more important than the “how.” In order to create a realistic 3D image, it requires an understanding of why an object looks a certain way in the real world or in specific environments.
Connect With Us
We have evolved traditional retouching into a combination of digital imaging, 3D modeling, animation and motion graphics, to create dynamic, compelling still and motion images. Our strength is in our passion to move ahead and be the best in our industry. Other agencies can’t keep up with the healthy lifestyle of the Ogilvy CommonHealth Imaging team and that’s why we’re flexing our creative muscle.

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May14

Is There Good Karma in Advertising?

buddhaSo much of what we do throughout our careers is interesting…but is it inspiring? Well, we found out recently when the knowledge and information we’ve been exposed to through client work helped me and my wife conceive of and create something entirely new and unexpected. Using the skills we’ve honed while working at ad agencies, my wife and I recently came up with the idea for an iPhone app that aims to improve the world by promoting small changes in daily actions. Basically, we asked the question: what can we do using our advertising knowledge to help make the world a better place? That was the question. “Karmasation” was the answer.

Karmasation, the app we’ve created, is what we somewhat jokingly call an anti-social network. People can post their actions, thoughts, and experiences anonymously and get feedback about whether they deserve good or bad karma. Because users maintain anonymity within Karmasation, they can post honestly. They aren’t speaking to people who know them through various social interactions (as they would on Facebook and Twitter), they’re just speaking to a community of people. Human to human.

The tie-in to social networks, though, comes into play with the idea of gamification, a subject about which we’ve frequently engaged our respective clients. As users participate in Karmasation, they accrue a Karma Profile. Users can simply compete against themselves, or they can share their profiles, posts, and results with Facebook and Twitter to create somewhat of a competition to see who can earn the best karma.

So what type of advertising knowledge were we able to apply while creating the app? And how did that learning continue with Karmasation?
1) The Devil is in the Digital Design. As we’ve worked on different digital platforms for our clients, we’ve learned a bit about clean design and user interaction. Combining that knowledge with being iPhone users ourselves, we had an idea of what would work within the iPhone platform. Are we still learning? Of course! But through our work on our app, we’ve gained a broader understanding of user interaction. We now have a better handle on how users might prefer digital platforms to react and function—not just from an art or copy perspective—but from an overall experience.

2) Bravo for Beta Testing. Again, with the digital platforms we’ve worked on comes testing. The first time my wife worked on a digital presentation, her project manager told her to try and “break it.” And “break it” we did, because before putting an app out there you want to make sure you’ve covered every scenario—not just how you’d use it but also how anyone else might. Because our app has more possible combinations of actions than other projects we’ve worked on, we’ve learned the importance of testing in a systematic way with a greater attention to detail. We also found that as we progressed through the rounds of beta testing, we learned ways to better communicate issues we were finding with our developers. Clear communication between team members who understand different aspects of a project is crucial to getting any problems fixed.

3) The Process of Promotion. The obvious one since we’re in advertising. But this time, we are both the agency and the client. Deciding on your own strategy can sometimes be difficult, and as a result, we now have an added sense of respect for our clients. We continue to work daily to find ways to better promote our app so that more people can know, use and enjoy it.

As we continue with Karmasation and our jobs in advertising, we’ve learned from each experience and have already seen how we can apply our learnings from one circumstance to the other. Like karma, what comes around goes around. And in this case, we’d call it good karma!

 

 

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Apr23

Finding the Right Balance

PaperOne day, you wake up and you are an Art Director. The sun is shining, the birds are singing, you have the Icona Pop song stuck in your head. You realize that you are exactly where you want to be—in the middle. Some people may want to be a little to the right or a little to the left, but I personally like to have my cake and eat it too. I started out my career with a big slice of interactive pie. For the past 4 years, I have worked for Ogilvy CommonHealth Worldwide’s NJ-based interactive marketing group. My key role was to work on various interactive projects (websites, iPads, banners, e-mails). I learned so much from my amazing co-workers. Some of them have left to find a different path in their design careers, but I still hold them all close to my heart. I will never forget the teachings of those from my past.

Today is a new day. I am pulling the cobwebs out of my brain and refreshing myself to the world where I began: PRINT! I went to college at the School of Visual Arts in NYC. I remember spending my grocery money on expensive paper for my design projects. There is nothing better than walking down the north side of 18th Street toward 6th Avenue to Paper Presentations and then spending an hour feeling textured paper. I can still smell it. (Everyone close your eyes and smell the paper with me). In college, I mostly studied print. We all need to acknowledge and appreciate where we came from, because it made us into the designers we are today. Over the past few years, I have been lucky to help out with some print projects. I have been moving back and forth between print and digital for years now.

My new role as an Art Director for a women’s health client is like sunshine on a cloudy day. I am lucky enough to be working on both print and interactive design. For this particular project, we are working with another multimedia agency, located in NYC. My Art Director partner and I do a lot of traveling back and forth from New York to Jersey. Our collaborators hold most of the digital work, but now that I’m in town, we are bringing some of the interactive work to New Jersey, Ogilvy style (not to be confused with Gangnam Style). As we all know, it is hard to be the new kid on the block, and the agency has a wonderful, tight-knit interactive team. The more that I go there, the more I feel like a member of the design gang. The other day, the SVP Creative Director gave me an e-mail design test. He threw me some copy and a logo and let me at it. I came up with a few concepts that I felt confident about. When I met up with him the other day, we discussed the designs and it turns out that he really liked them. He said that they had a good balance of design and easy development. I couldn’t have been happier! It is always an exciting feeling when someone has seen your work for the first time. Each time is like a new chapter in your life, another page has turned where you get to prove yourself.

I think we all need to achieve a good balance of interactive and print. Most of us come from a print past and we need to look to the digital future. Print isn’t going anywhere. I still love paper, drawing in my sketchbook, and cutting things up with scissors. We also need to embrace the technology ahead of us. There is a lot of fun, innovative work coming our way and we all need to get excited about it! Let’s all strive for balance, because that is where we will be strongest!

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Dec6

The Art of (Un)formatting a PowerPoint Presentation in 6 Easy Steps

It takes a tremendous amount of work to properly format a PowerPoint presentation, but in many cases it can take twice as long to (un)format one. If you find yourself adhering to any of the rules below, you are probably well on your way to mastering The Art of (Un)formatting a PowerPoint Presentation.

 

  1. Never refer to the slide master.The slide master informs the look and feel of the presentation. It dictates text box and header placement, bullet style, line spacing, and defines the color palette. There is absolutely no need to go there for styling cues, or to ensure consistency in your document.
  2. Refrain from placing logos, background art, or disclaimers into your slide master.
    Instead of placing them in the slide master where they belong, copy and paste all background art, logos, and disclaimers into every slide of your presentation. If done properly, when the logo or text needs to be updated, the user will have to make those changes to every single slide in your presentation.
  3. Do not use the “Bold Lead” layout built into most of our templates.
    It takes significantly longer to manually remove a bullet, select the line of text, and hit the
    “bold” button on the toolbar than it does to go into your layout and hit the “Bold Lead” template. Don’t forget to hit the spacebar 8-12 times to inaccurately match the indent present on the second line of text.
  4. Avoid using the built-in table feature.
    PowerPoint allows users to intuitively build tables by defining the number of rows and columns, and then automatically generating a stylized table based on your design template. Stay clear! Instead, create multiple text boxes, visually line them up as best you can to create a grid of boxes, and type in your content into each of them. To spruce it up, be sure to add your own divider lines, vertically and horizontally, to complete your manually created table.
  5. Always place a text box on top of a PowerPoint shape.
    Although users can create colored PowerPoint shapes and type their text directly into them, it makes more sense to place a text box over that shape and group the two items. The text box and shape are rarely aligned correctly, and the text never quite fits, but this approach is guaranteed to take longer and will make future edits more difficult.
  6. Finally, keep thinking of your presentation as a manuscript.
    PowerPoint is a presentation tool, not a word processing tool. It was designed to help presenters create visuals that support their talking points. Rather than keeping your slides simple and concise, cram them with as much information as possible. Ensure that your audience is completely ignoring what you are saying because they are reading the projected slide. Remember to add plenty of confusing charts that, while accurate, are so dense that the point you are trying to make is lost. And finally, don’t read 6 Tips for Outstanding Presentation Design, because this article might inspire you to think about your presentations a little differently.

While it may have its flaws, PowerPoint is a very powerful tool specifically created to help users
create presentations efficiently.

Do you harness its potential, or are you a Master in the Art of (Un)formatting?

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Oct16

How Social Media Turned User Experience Upside Down

In the early days of the Internet, the web was essentially a collection of pages connected by links. The Internet user experience was called browsing for a reason: We’d jump from page to page in a haphazard way with little connection between each site. Our selection of where to go might have started with a web search on Yahoo, Lycos or Ask Jeeves, but afterwards our path was probably based on whatever links we were presented with. The browsing experience was unpredictable, full of surprises and often felt like a kaleidoscope. It was also a pretty flat experience because most websites were pretty flat: words on a page, perhaps with some images and a spinning leprechaun gif thrown in for good measure.

What’s important about this structure from a user experience perspective is that the user was in the driver’s seat, moving from one static page to the next. No web page was ever more than one click away from any other and—structurally at least—all pages were equal.

Fast-forward to the Internet of today, and the landscape has truly inverted this relationship between users and content. Rather than jumping from page to page, today’s user experience is more like a funnel that is persistently tilted towards us. All information seems to runs downhill into our browsers and devices. Information and services are curated, collected and aggregated on our behalf and delivered to us.

This means we spend less time exploring and more time consuming material that’s already been prescreened. And when it comes to news, we’ve become dependent on programs to bring events to us. We stand still on our own island and the world spins around us. Of course, what the Internet brings us is highly personal. Much of the selection is driven by our personal social connections: our Facebook friends, LinkedIn connections, whom we follow on Twitter, etc.

The web experience of today cannot be separated from the interrelated concepts of personalization and aggregation. Information, events, news and resources are selected based on our unique personal connections and then aggregated into a few convenient outlets for us to consume.

This phenomenon may have begun with social media networks (and in fact it couldn’t exist without them) but the changes wrought by personalization and aggregation are larger than the social networks themselves. It has profoundly altered the way we access and consume news and information. And has created a new means for us to evaluate and interact with content—whether we consider it credible and actionable, and whether we wish to share it, comment on it or republish it. Years ago we relied on the professional editorial staff at large media companies to determine what was newsworthy. Today we rely on our socially connected friends. Personalization and aggregation determine whether we will see a movie, buy a recording, go to a party, see an art exhibit or contribute to a charity. It even determines whether we are aware of these things in the first place.

From a user experience perspective, there are some key implications that need to be considered when developing websites and related interactive initiatives:

Navigation Is Only Half the Story

While it’s always a good idea to have a well-thought-out navigational system with a clear taxonomy, navigation is arguably less important than it has ever been. This is because users are increasingly relying on shared links such as those found on their social networks. They are either deep-linking directly to your content or viewing it in an isolated instance that’s created on the fly for their consumption.

Personalization With No Strings Attached

In order to personalize a site experience, it used to be necessary to put your user through a registration process. This is no longer the case. Users can now sign in to sites using their social credentials. APIs and OAuth, a widely used open-source protocol, allows users to identify themselves using their Facebook, LinkedIn, Twitter and other accounts without surrendering any personal information. For example, sites using OAuth can (with their users’ explicit permission) access profile data and friends’ activities and integrate that into the site experience. Using techniques like this, sites can display the names of your friends currently online, list what articles or topics they’ve liked or shared—all without capturing any personal information.

Context Is King

Because content is being aggregated and displayed outside of its original context, your assets may look and behave very differently depending on the setting and the device that your audience is using to access it. For example, let’s say you are developing a physician locator application. When accessing the application on a mobile device, it is possible to display the nearest physician based on the GPS that comes with the phone or tablet. On a desktop computer, users may need to input their location manually to get the same result. The implication is that we need to build flexibly so we can optimize the user experience based on the device and location.

Device Matters

The proliferation of devices has fragmented into a bewildering array of operating systems and screen sizes. Adding to the complexity, some devices accept input from mouse and keyboard while others respond to complex hand gestures or voice commands. Personalization and aggregation means that we need to think not only about where our content may travel but also on what kind of device and screen it will be displayed. Because new devices are constantly being released and operating systems are updated frequently, it can be an impossible task to accommodate all of them. For this reason it is a good idea to establish a list of what devices and operating systems you intend on supporting. While this list may need to change on a regular basis, it will give you a starting point for design and development.

 

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Oct11

High Hopes for Better Banners

Banners have appeared in the same size and location on websites for many years. Over time, people have become trained to subconsciously block them out. This is known as banner blindness or burnout.

Earlier this year, the Interactive Advertising Bureau (IAB) rolled out new ad units aimed at revitalizing the digital marketplace. In February, they debuted their Rising Star display ad units: new sizes rich with interactivity. Agency creative directors, media executives, publishers and ad operations specialists were polled and sifted through many ad variations to select six top ad units. Categories evaluated included user experience, branding, functionality, integration and adoption. The hopes are that the new Billboard, Filmstrip and Sidekick will soon become as familiar as the Skyscraper and Leaderboard.

The Rising Star ads imbed a wide variety of interactive features within the banners. This will greatly benefit campaigns with the sole objective of awareness, which tends to be harder to evaluate. The Rising Stars will yield interaction metrics, measuring engagement for the person who never clicks on the ad. The new ad units have a proven significant lift in brand perception and recall compared to standard display. Users are 2.5 times more likely to interact with a Rising Star ad, interact with it two times faster, and spend twice as much time interacting with it than with standard display (http://www.iab.net/media/file/IABRisingStarsAdUnitsvsStandardAdUnitsFINAL.pdf). Check out this video to see them in action: .

However, the acceptance of the ad units has been slow in the consumer world, which means even slower in the healthcare space. Comscore noted that top 25 properties like Yahoo, CBS and Glam Media all support the Rising Stars, but they were unsure whether sites like Amazon, Turner Digital, Vevo and Gannett would support the units.

When we learned of the Rising Stars, Ogilvy CommonHealth Medical Media began proactively reaching out to our vendors, asking them to consider accepting the new ad sizes, knowing we could be waiting a long time for them to adopt them on their own. We polled 12 major digital healthcare publishers and were pleased to learn the majority are willing to accept the ad units. We urged them to consider the ad units, promising digital healthcare fame for the first to market.

We understand that other challenges with the ad uptake will be execution and technology. The ads will take a long time to build, require large resources, and be complex. The initiative will require on-boarding creative agencies with material specs and resources for consideration. We will need the support of our clients to fund the ad development, as it will take more time. While a bigger investment, the ads could provide a solution for brands with messaging limitations due to black box and other safety warnings. The banners also provide another opportunity to syndicate brand assets, patient education, videos, slide decks, etc. This captures an engaged audience without relying on heavy site traffic, knowing that a large percentage of HCPs will not visit the “brand.com” site.

While publishers are willing to take a leap forward, it will be interesting to see if physicians are ready for the new ads. Some vendors still prohibit Rich Media to protect their audience from distracting and disruptive ads interfering with their online experience. We will recommend agencies use an editing eye during ad development, carefully utilizing the features without taking advantage of them.

The same initiative is ongoing for mobile. Digital marketers have not yet scratched the surface with smartphone and tablet advertising. OCHMM is noting which vendors will accept these new Mobile Rising Stars and collecting specs and examples for creative agencies. Some new mobile ad units include the Mobile Filmstrip, Pull, and Full Page. More information on the Mobile Rising Stars can be found here:  http://www.iab.net/risingstarsmobile#1. Watch them in action:

Our goal is to supply agencies, vendors, and clients with information early on to aid and support the development of Rising Star ads. Once executed, we believe the metrics will speak for themselves. If you have any questions or would like to know how this can work for your brands, please contact Ogilvy CommonHealth Medical Media.

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