News

  • Mar 14, 2014

    SupersonicAds Enhances Support for Best In Class Mobile Ad Providers to Round out Mobile App Supply Side Platform Offering

    San Francisco, March 14, 2014— SupersonicAds, one of the world's leading web and mobile app monetization and Supply Side platforms, announces new collaboration and support for the leading mobile ad providers of the world. SupersonicAds launched Ultra, the End-to-End Ad-channel Management Supply-Side-Platform for the App Economy in 2012 and is proud to announce enhanced support for: Aarki, AdColony, Applifier, Ebuzzing and RadiumOne.

    The Ultra platform enables publishers to have a single interface to manage their ad-business, empowering them to maximize efficiency between partners in real-time with strategic insights needed to make educated decisions about their monetization opportunities. Ultra is a state of the art technology platform that utilizes a cloud based logic engine for real-time analysis with no downtime.

    Support for ad-providers’ native technologies allows publishers to take advantage of each provider’s strengths without compromising their quality or performance potential.

    Ultra is currently being leveraged by some of the top Development houses in the space: Wooga, Pretty Simple, Socialpoint, Miniclip, Meez, Peak Games, Aeria Games, Small Worlds etc.

    "We chose SupersonicAds and Ultra because of its reliability and robustness. Our relationship has been profitable for Wooga and we look forward to seeing Ultra grow." Philipp Stelzer, Wooga. The Ultra platform is designed to support the most effective mobile ad formats including: Offerwalls, Reward-based Video, Native Display and Interstitials.

    In Alphabetical Order:

    About Aarki

    Aarki is a leader in interactive and creative advertising technology for brands, agencies, ad networks and premium publishers. Aarki (pronounced ar-key) is a Sanskrit word meaning to rise above or elevate. The company’s goal is to ensure customers can rise above their competition through cloud-based technologies that deliver highly engaging, interactive advertisements across all devices. Based in Mountain View, with offices in New York City, Los Angeles, Tokyo, Beijing and Manila, Aarki is backed by Walden Venture Capital. For more information, visit www.aarki.com.

    About AdColony

    AdColony is a mobile video advertising company whose proprietary Instant-Play™ technology serves razor sharp, full-screen video ads instantly in HD across its extensive network of iOS and Android apps, eliminating the biggest pain points in mobile video advertising: long load times and grainy, choppy video. As a leading mobile video advertising and monetization platform, AdColony works with both Fortune 500 brands and the world's top grossing publishers. AdColony is an Inc. 500 Fastest Growing Private Company, the winner of Digiday’s Best Mobile Ad Network Award and was recently named #3 out of the Top 25 Mobile Advertising Partners. To learn more about AdColony, visit www.adcolony.com.

    About Applifier

    Applifier enables mobile game developers to more effectively acquire and monetize audience through a comprehensive suite of tools, including Everyplay® Replays and Everyplay® GameAds. In 2011, Applifier became the largest cross-promotion network of independent social application developers on Facebook, reaching over 150 million monthly active users. In 2012, Applifier launched the Everyplay® Replays beta for mobile game replay sharing, and in 2013 launched Everyplay® GameAds in-game video advertising network to acquire high quality users and increase monetization for mobile games. Today Everyplay® Replays counts over 6 million registered users with millions of shared replays from hundreds of integrated games on iOS and Android. For more information, visit http://www.applifier.com.

    About Ebuzzing

    Ebuzzing is the fastest growing online video technology company in Europe and the global experts in video advertising. Ebuzzing creates engaging, high impact video experiences, distributing video ads to audiences through placements within social media, and premium media properties. To date, they have distributed thousands of campaigns for the world’s leading brands including Heineken, Acer, LG, Samsung, Evian and Adidas. Founded by Bertrand Quesada and Pierre Chappaz in 2007, Ebuzzing now has over 250 employees with offices in New York, London and across France, Italy, Germany, Spain, Luxembourg, Morocco and Dubai. Its R&D department employs 50 people, demonstrating the company’s commitment to innovation.

    For more information, please visit www.ebuzzing.com

    About RadiumOne

    RadiumOne builds software that automates media buying, making big data actionable for digital marketers. RadiumOne uses programmatic advertising to connect brands to their next customers by incorporating valuable first-party data about behaviors, actions and interests demonstrated by consumers across web and mobile touch points. Using insights and data intelligence, RadiumOne helps marketers activate customer engagement in real-time with relevant and personalized offers, messages, content and ads across devices, locations and screens. RadiumOne boast an international salesforce sourcing campaigns directly from F500 companies, making us the leading supplier of advertising for publishers. On the user acquisition side our patent pending ShareGraph technology is the most cutting edge the market has to offer. RadiumOne enables developers and publishers of social, mobile, and online games to both acquire and monetize users in the most cost effective manner. Based in San Francisco, RadiumOne has 12 offices across the US, Europe and Australia.

    To learn more about RadiumOne, please visit http://radiumone.com

    All companies will be attending GDC this coming March 17th in San Francisco and are looking forward to meeting any parties interested in their services.

    About SupersonicAds

    SupersonicAds is a leading global End-to-End marketing and monetization platform for the App economy. We’ve developed scalable and automated interfaces for both the supply and demand sides, with integrated analytics. Agencies and brands can target and engage key audiences across the most popular facebook and mobile applications. App developers can monetize all segments of their user base with a turnkey solution that provides a full stack of customizable ad formats including video, reward-based offers and native display, while also acquiring ROI positive users for their applications.

    In 2013, SupersonicAds launched Ultra, a Supply-Side-Platform for App developers to manage 3rd party ad networks, direct sold and cross-promotional ads through one comprehensive interface and a single cloud-based SDK.

    The company is backed by Greylock Partners, and is headquartered in Silicon Valley with key offices in New York, Los Angeles, London and Tel Aviv.

  • Feb 26

    Marketing Week: In Game Advertising: Mind Games

    News that the maker of the game Candy Crush Saga is to list on the US stock market, accompanied by a print campaign for latest title Farm Heroes Saga, has underlined what many marketers already knew – games are big business.

     

    More than 1.2 billion people globally play video games, according to research by Newzoo, while the Internet Advertising Bureau estimates that in the UK it is around 33 million. In 2013, the global mobile games market grew by 35 per cent to $12.3bn. Games players are no longer confined to a certain age, gender or social group.

     

    The number of brands choosing to advertise in the thousands of game titles created every year – whether console, casual, mobile or PC – has mushroomed as marketers have become more aware of their audience reach. Games have proven ability to hook their players in for hours, as demonstrated by the phenomenon of Flappy Bird, whose Vietnamese developer withdrew it because he was so uncomfortable with its popularity. But the question remains, can advertisers achieve the same level of engagement?

     

    A spy agency might not be the first place to turn to for proof, but Government Communications Headquarters (GCHQ) has shown it is possible. GCHQ’s work fighting terrorism, drug trafficking and other serious crime has all the hallmarks of a best-selling game and it has been using in-game advertising to promote career opportunities for seven years. As well as posting in-game recruitment ads, it has created a more integrated campaign on Microsoft’s Xbox Live, using streamed video banners to engage with players as they become more absorbed in the action.

     

    A spokesperson for GCHQ says the organisation analyses data relating to the skills of a player to assess their suitability for a job. “If someone has to sit through a five-minute explanation of a game with a small amount of interaction before moving to the next stage, this can highlight good attention and listening skills. If they choose to skip this and get to the next level, it could highlight the opposite. So different areas of a game can emphasise particular skill-sets for the job in question. It is part of the game so the player is unaware a skill is being evaluated.”

     

    Allianz’s advertising within the game World Golf Tour enables it to target golf fans in digital media

     

    Games enable GCHQ to recruit the technology and security experts it struggles to find, as they are likely to respond to a recruitment drive if ads are clever enough to grab their attention while playing. “It becomes the hook to get them to think and question what we do and how they could be part of that,” says the spokesperson.

     

    The organisation knows how passionate gamers are about the titles they spend hours enjoying, and that any branded content must not spoil or interrupt the gamer’s experience. Get the experience right when advertising in games and there are some fascinating opportunities available to more conventional brands too. However, it might require taking some risks.

     

    Jason Kingsley, chairman of the games trade body TIGA, says some marketers need to become less protective of their brand and more sympathetic to the context in which is it being shown. “In racing games, vehicles crash, but some car manufacturers do not want to see their model get smashed up,” he says. “But for the gamer, the more awesome and aspirational the car brand, the more fun it is to crash it. This can be counter-intuitive for some marketers.”

     

    Another example is energy drink Red Bull advertising within a game featuring comic-book law enforcement character Judge Dredd, produced by Kingsley’s company Rebellion.

     

    “Even though sugar and stimulants are ‘illegal’ in Judge Dredd’s Mega City, we embedded Red Bull in the Dredd v Death game, talking about how it was being illegally shipped into the city. Some brands would baulk at the idea of being linked to something illegal,” says Kingsley.

     

    An advertiser’s relationship with a gaming audience is also strengthened if the brand becomes an enabler, helping a player to earn more lives, or to acquire additional equipment or ammunition in order to reach a higher level. Alternatively, a gamer might be asked to watch a free video to gain more credits that can be used to buy in-game goods.

     

    Players also appreciate contextual advertising that adds realism if a game is set in a location where they would expect to see it in the real world – a shopping centre, a race track or a football stadium. Most game titles based around extreme sports, for example, would envy the opportunity to incorporate Red Bull’s branding because of the authenticity it adds to the game.

     

    One brand from a traditional industry that is embracing in-game advertising is insurer Swiftcover, part of AXA Insurance.

     

    AXA Direct & Partnerships senior marketing executive Clare Wood says people are in a different frame of mind when they are playing gaming apps on platforms such as Facebook compared to when they are watching TV. She argues that they create a “unique situation” that is “fun and rewarding whilst also ensuring high levels of brand recall and awareness”.

     

    Swiftcover has previously placed virtual billboard ads in games such as Pro Evolution Soccer, Guitar Hero and Tiger Woods PGA Tour, and most recently has worked with ‘virtual currency’ specialist SupersonicAds and agency Arena Media to develop a driving mini-game inside other Facebook apps where players were rewarded for playing with game currency.

     

    “Players who need help [reaching the next level] or purchasing an in-game item welcome a brand’s assistance,” says Wood.

     

    It can be difficult for advertisers to judge when is the most effective moment within a game to try and connect with a player.

     

    Marketers have learned over the years not to have any advertising within the first few minutes of play, and that the more success a gamer is having when playing, the better their mood. For instance, if they have completed a level and are feeling pleased with their achievement, they might be more open to seeing advertising.

     

    Brand owners are using these principles in attempting to create TV-style commercial breaks inside games, in close collaboration with game publishers. The theory is that by creating natural stops in the game, brand messages will be viewed as less intrusive, and that if someone has been playing a game for a long time, they will welcome a commercial break.

     

    The proof will always be in the execution, however. It is likely to work best where the game is already designed around natural cliff-hanger moments between levels, and where gamers expect to be playing the particular title.

     

    While it can be tricky, companies are also trying to link the real-world brand experience with in-game advertising.

     

    For example, financial services provider Allianz has had a global partnership in place since 2009 with St Andrews Links Trust, which manages the Old Course where golf’s Open Championship is played. Allianz supports the sport at all levels and in different markets, including the 2015 Solheim Cup in Germany and the Allianz Championship in Florida. It has extended its involvement by advertising within World Golf Tour (WGT), an online golf game.

     

    “WGT is an opportunity to combine traditional digital advertising with engagement and interaction among a very specific target group in a clever way,” says global sponsoring manager Tobias Gruenewald. “The game offers the chance to directly target golf fans in digital media and it helps us to drive digital traffic to our own platforms such as the Allianz Golf Facebook page.”

     

    He says players do not regard advertising as an annoyance if a brand is seen as a natural part of the existing game. “Our real-world partnership with St Andrews Links means there is a natural connection to an Allianz-sponsored virtual tournament on the virtual Old Course. The players shouldn’t be interrupted, especially if you are careful about asking for personal information or making product offers, which we avoided during our first virtual tournament.”

     

    Return on investment from in-game advertising is also highly measurable, says Gruenewald. “If your original objective was simply audience reach, you can track how many people played your tournament and how many received the newsletter. If your original objective was to drive people to your own corporate platforms, you can track that easily too.”

     

    Channel 4 is using its own branded games to drive people to its television shows including The Million Pound Drop and The Bank Job, and to find contestants.

     

    Multi-platform commissioning editor Jody Smith says ‘second screen’ games, where people can play along on a mobile device or computer during a programme, is a priority area this year. The growth in mobile devices has fuelled the popularity of these games with around 10 per cent of The Million Pound Drop viewers playing online, with an average dwell time of about 40 minutes.

     

    “Games you can play while you watch television are appealing and they allow third-party advertisers to benefit from that engagement,” says Smith. “When the programme goes to an ad break, players see the ad for that brand in the game.”

     

    He says that players will be receptive if the advertising is relevant and they feel a brand is giving something to them, rather than them having to give up their time. “One good example is a Nokia sponsorship of the drama Misfits,” says Smith. “We had an online game where players could explore an environment from that week’s episode and piece together new bits of the story.”

     

    Weekly downloads and prizes were included in the scene each week via Nokia’s music platform and the brand received sign-ups and greater brand awareness. There was also a trail of clues in the game, which led to tickets to a party co-hosted by Nokia and Misfits.

     

    Chair of the IAB Games Council James Salins says everyone wins if the advertising is engaging, because persuading people to pay for games is difficult. He claims that less than 5 per cent of players will over money to play.

     

    Much of the growth in gamer numbers has come from apps and about 80% of free apps are games. The reality for publishers is that if they are to make money, they need creative advertising ideas that do not annoy their customers. “In-game advertising is growing but not as fast as it should be, considering the huge numbers of different consumers who now play, including the number of women,” says Salins.

     

    He cites the exception of Unilever’s Dove brand, which used the medium last year to engage with its core female audience of 30- to 64-year-olds. 

     

    A Dove-branded Bubble Buster game targeted female Facebook users who play titles such as Bubble Witch Saga and Farmville. When people completed the branded game they were shown the latest ad and invited to purchase Dove products. 

     

    As brands follow their consumers away from traditional media and on to mobile devices, it is almost inevitable that at some point they will have to think about interacting with them through games, since they account for a growing portion of the time spent on those devices. There are huge potential benefits to be had from being seen in a medium that people consume for hours, but an advertiser must be creative in its approach and help, not hinder, each player’s gaming experience.

  • Feb 25

    SupersonicAds Reports Exponential Growth in Flourishing Mobile Ad Market

     San Francisco, February 25, 2014— SupersonicAds— one of the world's leading web and mobile app monetization platforms— announces unprecedented growth in mobile with adoption by existing app developers using SupersonicAds platform growing by more than 190% in 2013. Additionally, three-fourths of all new apps going live on the platform were mobile. The majority of SupersonicAds’ advertisers are using the platform to run convergent campaigns on both web and mobile.

    As expected, video is the leading ad unit driving this convergence, with the average ad spend on web accounting for 80% of the total video budget and the remaining 20% going towards mobile. SupersonicAds estimates that in 2014, that budget split will be 50/50 with adoption by nearly 80% of brand clients, who will begin shifting spend to mobile. The strength of this cross-platform capability will see overall budget spend from advertisers rise an estimated 20% across both platforms in 2014.

     

    “Cross-platform will be the trend for brand advertisers in 2014 as more and more savvy brand partners double down on their mobile strategies. Our ability to successfully deliver on this strategy allows our partners to recognize greater efficiencies and be more holistic in their overall digital approach.” said Gil Shoham, Co-Founder and CEO, SupersonicAds. “Prior to 2012 we worked primarily with the biggest names in web publishing, as the market shifted to mobile, we have harnessed key learnings and insights from our previous three years of experience to better support and guide them into the ad-monetization space. This makes us a natural choice for mobile developers.”

     

    “We chose SupersonicAds as our cross platform monetization partner and we've experienced tremendous growth,” said, Nikola Cavic, Head of Business Development at Nordeus. “With the recent expansion of their mobile offering, they were the obvious choice to continue to grow our existing relationship using their unified platform.”

     

    The growth in mobile video spend cannot be ignored. Total video budgets grew by 70% in 2013, with mobile generating 40% of that growth. For brand advertisers and for publishers, a strong mobile video strategy must be the centerpiece of a successful campaign; as evidenced by the 140% growth in completions between 2011 – 2013 on the SupersonicAds platform.

     

  • Feb 11 - 13

    Casual Connect Amsterdam

  • Feb 24 - 27

    SupersonicAds Does Barcelona

    Please stop by our booth at Mobile World Congress February 24 - 27 in beautiful Barcelona! Booth location: Hall App Planet – Hall 8.1, Stand 8.1H19. We look forward to seeing you there!

  • Jan. 29 2014

    SupersonicAds Announces Three Key Leadership Hires in North America

    Leveraging the rapid growth of the app economy and the adoption of advertisers and publishers alike, to monetize their mobile content, the company has invested in new expertise to grow relationships, sales and brand presence in North America. The appointments represent the first move in an aggressive go-to-market strategy for SupersonicAds in the region. Co-Founder and CEO, Gil Shoham relocated to San Francisco from London in late 2012 to lead the expansion. SupersonicAds has been a leading player in mobile monetization in EMEA since 2009. 

     

    Full list of appointments: 

     

    • Dock Kim has joined the company as VP Advertiser Sales, where he will lead North American Advertiser Sales efforts for SupersonicAds’ extensive advertiser solutions product. Prior to joining SupersonicAds, Kim was VP Sales at LeadBolt, a mobile app discovery, advertising and monetization platform. Prior to that, Kim served as both the Director of Advertiser and Publisher Sales at Adknowledge. Kim has also held senior positions at MediaTrust, Oberon Media and Nielsen Business Media. 

     

    • Harish Thimmappa has been appointed VP Mobile User Acquisition and will lead strategic efforts for SupersonicAds’ mobile user acquisition product line. Prior to joining SupersonicAds, Thimmappa was VP Sales at Playnomics, a predictive marketing and targeting platform. Prior to that, Thimmappa was Director, App Advertising Sales for InMobi, where he led performance advertising sales. Thimmappa began his career at IBM as a consultant in the strategy and change division. 

     

    • Rob Banning has been named Head of Global Marketing and Communications and will lead strategic marketing initiatives, including the development of brand positioning, sales marketing, product marketing, events and communications. Prior to joining SupersonicAds, Banning was Director of Ad Sales Marketing at Scripps Networks Interactive. Prior to joining Scripps, he led corporate marketing efforts for Videology, one of the world’s largest video advertising platforms, where he was instrumental in developing and overseeing the company’s marketing strategy, including its global brand and creative services, sales and event marketing efforts. Prior to joining Videology, Banning was Marketing Director for Innovid, an interactive video advertising solution and WPP’s 24/7 Real Media. He has also held marketing positions at Martha Stewart Living Omnimedia, Sucherman Consulting Group, and NBC. 

     

    "The App economy is white-hot and we are bullish that the advertising spend on mobile and specifically within mobile apps will continue to rise through 2014 and beyond,” said Gil Shoham, SupersonicAds CEO and Co-Founder. “The addition of these three top-tier executives will help to speed our growth in the mobile developer segment as well as in the advertiser and brand direct sectors of the advertising business.” According to research firm Gartner, global mobile advertising spending is forecast to reach $18 billion in 2014, up from the estimated $13.1 billion in 2013 with the market expected to grow to $41.9 billion by 2017. Gartner said that display formats will make up most of the revenue, but video will show the highest growth. 

     

    For more information, contact Rob Banning, rob.b@SupersonicAds.com or 650.204.4047.

  • Feb 11 - 13 2014

    Casual Connect Amsterdam

  • Jan. 12-14 2014

    We would love to meet YOU! @AffiliateSummit West January 12-14 2014

    Since 2003 the Affiliate Summit has been enabling productive networking and education of industry trends to affiliate marketers. We are excited to speak with attendees who are looking to drive both performance campaigns and video engagement. Join us at booth #107 to discuss how SupersonicAds’ leading global Ad Platform for social entertainment applications on web and mobile fits within your needs. #ASW14 @SupersonicAds

  • Nov 1, 2013

    Hooray for Digital Hollywood!

    As the Entertainment industry descended on Marina Del Rey for the Digital Hollywood festival, there were key points being raised time and again over the 4 days of seminars, panels, round tables and think tanks, all of which bode very well for anyone in the digital space.

    With the panellists being esteemed industry execs offering insight into what the next 24 months holds for digital entertainment, there were a couple of core subjects that seemed to dominate both fact and opinion, and SupersonicAds was there to soak it all in and bathe in the glow of what should be a very fruitful next few years.

    In fact, Hollywood currently only spends 5% of its marketing budget on digital but forecasts that to rise to 30% in the next 2 years due to some key factors and shifts in the market which are going to drive that growth – Native advertising and second screen social viewing.

    As the digital media landscape matures and we move away from shotgun-blast display formats, studios are looking toward Native – but not as a new format. Indeed, native has been around for a long time in the press and now digital is starting to bring that to the new age. If ads are to be engaging and publishers demand not to run ads that alienate and annoy users, there has to be a synergistic approach between content and media delivery. The app world offers new opportunity for native content partnerships, and whilst the age old argument of incent vs. non-incent video delivery is still not going away. It’s still incent video that delivers the reach and “positive user experience” that non-incent cannot yet provide.

    So whilst the movie industry looks at digital for big reach, it’s actually the TV networks that are showing high levels of creativity and have shown to really embrace the social aspects of digital and with very good reason. Breaking Bad is the series that was dominating the summer viewing and anyone glancing at their newsfeed or twitter show what a success it was in popular culture, but what has come to light since the show has finished is that the finale had 3 times the views of previous episodes. These are not new viewers just watching one episode but the hard-to-quantify, catch-up viewers and the scarily large numbers of “cable cutters” that are viewing on their Apple TV or Roku device.

    Audience measurement is the business end of entertainment and when it comes to justifying ad dollars, the audience is a currency in itself. As a result, Hollywood and television networks are putting big pressure on Nielsen and the traditional audience quantifiers to start getting smarter with the metrics and literally “get with the program” as current trends are so far beyond what they measure. Indeed studios don’t just want to measure reach anymore - now engagement is becoming a currency in its own right. 75% of all new shows aired last year across any network have twitter feeds and find fan engagement a key to their success. Entertainment brands now structure their production models with fan participation as paramount. Jim Cannella, Director of Marketing for The Grammys, says that 70% of his audience now interacts with two screens on two devices.

    John Roberts, EVP Digital Strategy for Endemol, says that they are looking to build game shows exclusively for digital streaming on Hulu and Netflix. Now with these online exclusive “micro-budget” shows can feed the networks with successful show formats at low risk. SyFy/NBC Universal have taken it one step further and introduce pre-season content to audiences through digital on consoles and apps to introduce and educate their audience on each character before the shows airs on TV networks. Digital really is influencing old media like never before and even gaming is now considered not just a brand spin-off, but increasingly the bread winner of an entertainment franchise’s brand extension.

    Games based on movies are set to exceed box office revenue this year. GTA made $1 billion dollars in 2 weeks – numbers that make studio execs start to position gaming as a core part of any revenue strategy. Chris Carvalho of Kabam still insists Facebook will be the “Kingmaker” in this space as they showed with Zynga and King. Today, the free-to-play market is worth $31 Billion dollars. It won’t be long before every studio and the networks start to “play the game.”


    Digital Hollywood Since 1994, over forty thousand industry executives have attended Digital Hollywood in Los Angeles, New York, San Jose and in Las Vegas, including representatives of every major studio, technology company, cable, satellite and communications company, retailers as well as content developers and programmers for all entertainment industry medias and market segments

  • Sep 2013

    Dmexco September 18 & 19

    We are proud to be exhibiting at Dmexco, and looking forward to meeting you at our booth located in Hall 7, number F065.

    Representatives from many of our departments will be attending, including our international branding and performance sales team, publisher relations, technical operations, so you are sure to find someone to speak to who will be able to answer your questions about in-app advertising. We look forward to meeting you!

    About Dmexco: ‘’About 720 exhibitors from all over the globe, staged in three halls for the first time, a two-day Conference programme at top international level, extended opening hours on the second day and an expected attendance of 24,000 visitors: In 2013 the dmexco is impressively underlining its position as THE leading international expo and conference for the entire digital industry. Placing a clear focus on marketing, media and technology, in the digital era dmexco is the no. 1 global platform for all pioneers and opinion-leaders of the brands, for the advertisers and marketers as well as for all agency segments and media companies – and is leading the global digital industry.’’