The "Discover the Potential" campaign launched last year is being expanded with new measures. According to the press release, the aim this year is once again to give investors a tangible understanding of the advantages of the complex world of structured products. In addition to two other campaign subjects, there are now also event-related ads for Art Basel or a concert in the Tonhalle, for example. Radio spots are also running before programs such as "Roger gegen Roger" or "Börsenmagazin". The new measures are on air with immediate effect.

Responsible at the Swiss Structured Products Association: Jürg Stähelin (Executive Director SSPA); Daniel Sandmeier (President SSPA), Peter Keller (Head of Operations & Standards SSPA). Responsible at Leo Burnett Switzerland: Marco Donada (Art Direction); Patrick Suter, Fabian Windhager (Text); Peter Brönnimann (ECD); Isabelle Meier, Corinna Nippes (Consulting); Erasmo Palomba (Art Buying). Recording studio: Hastings. Photo: Patrik Fuchs. Image processing: Süsstrunk & Jericke.
 

In two initial expansion stages, a new central technology building will be built on a currently vacant site by 2016, followed by an information and sports center by 2018. In the longer term, there is also space for a radio studio on the Leutschenbach site, SRF Director Ruedi Matter told the media on Thursday evening. However, there are no concrete plans in this regard as yet.

The broad outline of how the site, which has been used for television since 1973, is to be developed in the medium and long term was presented. Everything is flexible so that the plans can be continuously adapted to changing needs, it was said. In a study competition organized by SRF and the City of Zurich, a project by Zurich architects Penzel was awarded the contract for the "Leutschenbach site development".

Restaurant and square at the main entrance

The "Mediencampus Leutschenbach" site will no longer be hermetically sealed, but accessible to the public, said architect Christian Penzel. There will be many open spaces as well as pedestrian and bicycle connections across the site. A new "neighborhood square" is planned at the main entrance to the television studio, as well as a restaurant open to the public. An underground parking garage will be built for employees and visitors to meet municipal requirements. The first construction phase with the technical building and underground parking garage will be financed by investors, while the second phase with buildings for information and sport, which will cost around CHF 90 million, will be financed by SRG, as project manager Mario Denzler said.

Acute need for refurbishment

Over the past 40 years, the television studio has been "adapted as well as possible to the changing times". Now there is an "acute need for refurbishment". The buildings' energy consumption is also to be significantly reduced. SRF wants to make efficient and optimal use of the site and reduce real estate operating costs by 33 percent or around CHF 10 million per year in the long term. By concentrating on the main site and selling decentralized properties, part of the investments can be financed. The TV studio site belongs to the City of Zurich. It will be made available to SRF under building rights. (SDA)

At Lausanne train station, around 140 journalists from Lausanne and Geneva demonstrated against the austerity plans. Posters carried headlines such as "Tamedia tue vos médias" (Tamedia kills your media) or "Structural contribution, 1,2,3, enough is enough." "They have destroyed trust and they have destroyed passion, which is the engine of the press. Without passion, there are no dividends," said Ludovic Rocchi of Le Matin newspaper. The delegation to Zurich was seen off on the platform to applause. The impressum trade union expects a large number of journalists and print shop employees in front of the Kongresshaus.

Dividend halved instead of layoffs

The rally participants will meet shareholders in Zurich and call on them to forego half of the dividend of 4.50 francs in exchange for layoffs. Tamedia had announced a savings program of 34 million francs for the next three years at the end of March. In French-speaking Switzerland, just under 18 million francs will have to be saved. The titles affected include Le Matin, 24 heures and Tribune de Genève. In French-speaking Switzerland, the savings program had led to fierce protests, also because Tamedia had achieved a profit of CHF 152 million in 2012.

The media company publishes numerous newspapers in German-speaking Switzerland, including the Tages-Anzeiger and Bund. Although the remaining 16 million Swiss francs of the savings package affect German-speaking Switzerland, protests there have so far been largely absent.In French-speaking Switzerland, there have already been two meetings with the Geneva and Vaud governments. Tamedia reaffirmed that it does not want to close or merge any newspapers in French-speaking Switzerland. (SDA)

Tamedia AGM: Mörgeli wants Strehle to resign

 

Via a specially established and communicated via all channels Web Special men can register. The winners of the Nivea Men Challenge will be accompanied by Yann Sommer and coached by experts, according to a statement. Five selected challenges will be shown in a weekly TV series on Pro Sieben Schweiz and bring the candidates out in a big way for twelve minutes. The campaign will run from April 29, 2013.

Responsible at Beiersdorf: Sarah Larwood (Marketing Manager), Lukas Schulthess (Senior Brand Manager). Responsible at Draftfcb/Lowe Zurich: Dennis Lück (Executive Creative Director), Cinthia Stettler (Art Director), Laureen Zanotti (Copywriter), Stephanie Lang (Art Director), Maximilian Kortmann (Copywriter), Marie-Theres Ott (Client Service Director), Yvonne Friedli (Account Director), Martin Rubli (Account Executive), Kathrin Leder (Strategic Planner). Responsible at Streuplan: Thomas Back (overall responsibility), Christoph Oertli (consulting management), Sébastien Rouiller (consulting), Margaretha Bösche (project management). Other partners: 316tn (online), Goldbach Interactive (social media), Mediafisch (TV), Eclumes (photography).

 

Chairman of the Board of Directors Pietro Supino replied that there were no plans for Strehle to resign. According to Mörgeli, a "Marxist like Strehle" is not a good fit for the Tages-Anzeiger. According to Supino, Strehle's daily work documents his agreement with Tamedia's basic attitude. The Tages-Anzeiger is an independent, liberal forum newspaper. Strehle enjoys his full confidence, said Supino. Mörgeli blames Strehle and the Tages-Anzeiger, among others, for the termination of his position as director of the Museum of Medical History at the University of Zurich. (SDA)

(Teaser image: Keystone)

French-speaking Switzerland protests against Tamedia
 

This is intended to prepare young people for responsible, healthy and non-violent sexuality. Rubber Love is financed by income from the sale of products, its own events, donations, sponsorship and support contributions. Brand ambassadors include Iouri Podlatschikov, Nicolas Müller and Anne-Flore Marxer. "We support Gummi Love because we are as fascinated as we are convinced by the work they do and the dedication of how they do it," say Philipp Brunner and Renato Auer, Statement's two partners.

 

There was beautiful flying weather for a whole series of high-altitude flights in Altenrhein for the agency at the airport. First stopover: Thursday April 18, Frankfurt. The Communications Association presented the 15th BoB "Best of Business-to-Business" Awards for the German-speaking region. The jury presented a total of 30 awards. 5 of them went to the Swiss agency at the airport: Gold was awarded for the three-part mailing for the Swiss Textile Association, silver for the integrated agency advertising. In addition, the high-flyers from Altenrhein won three bronze awards: for the "True Heroes" advertising campaign for DPD, for the world's first QR crossword puzzle for SMC Swiss Marketing, and for the condensed mailing for Krüger + Co. The creatives from Switzerland were thus the most successful agency of the evening. Second stopover: Friday April 19, Berlin. At the German Dialog Marketing Award ceremony, the agency at the airport won in the International category, where work from Austria and Switzerland can be submitted. René Eugster's team was the only one in this category to export a silver award to Switzerland for the Skiwaxbrief for Pitsch Sport. In total, 9 gold medals, 19 silver and 25 bronze trophies were awarded in Berlin by the German Dialog Marketing Association DDV. Wunderman Germany made it to "Agency of the Year" ahead of Serviceplan. pan 

 
Why is B2B less sexy than traditional advertising?
 
René Eugster from the agency at the airport had exhausting nights behind him. He had to get on stage several times at galas in Frankfurt and Berlin. He still found time for a short interview.
 
WW: What convinced the jury about the agency's work at the airport?
René Eugster: That's a question you'd have to ask the jury. All kidding aside, similar criteria with competition-specific weighting are applied at all the world's renowned award shows. The consistency of the strategically relevant solution, the creativity, the freshness and the unusual nature of the idea and - as is usual in easily measurable dialog marketing - the result were evaluated.
 
We are talking about B2B advertising here. What distinguishes the mechanisms of this division from B2C advertising?
The mechanisms are basically the same for both target groups, because it's all about communication. And believe me, even engineers, financiers or buyers are people in the end. However, there are some major differences: it is not quite as easy to identify and reach the target persons, the products are usually complex and require explanation, the buying process and thus keeping them happy often takes years, and decisions in B2B are usually made much more distinctly in groups than in B2C. At the same time, most decision-makers have very different buying motives, all of which must be addressed by a brand. 
 
Consumer advertising is undergoing an unmissable transformation as a result of developments in online. What is the situation like for B2B?
No different. C-parts have been purchased online in the industry via relevant platforms since the introduction of the web. The online channel is used extensively for customer retention - from operating or application instructions to the exchange of experts. In addition, B2B very often involves user groups that are scattered all over the world.
 
Is B2B advertising on the rise in the current economic crisis, and if so, why? Or are you feeling a similar slump as the classic agencies?
We feel exactly the same movements. The purchase psychological effects do not stop at the workplace. Unfortunately, there is no behavioral duality with a private and a business brain. Anticyclical acting is hardly practiced and thus it remains with an everyone plausible great idea from school books. In addition to customers who have been preparing for the next crisis by lowering their budgets for 10 years, we also have customers who are active in markets where things are just taking off.
 
Why does B2B still have a lot less glamour than TV commercials and other classic advertising - or is this impression deceptive?
On the one hand, there is a lot of back-breaking work behind it, since the products and services as well as the target persons require a lot of thinking. In addition, the visibility of the measures outside the target group is naturally lacking, which always requires a lot of explanation when name-dropping the customers. And last but not least, the discipline of B2B communication is still treated by many clients like the Paralympics of advertising. Advertisements look like instruction manuals and products lined up at trade fairs have the charm of the Herisau cattle show. In short, here too, advertising is only as good as the client allows it to be - and the agency can do.
 
What are some of the other exciting projects currently underway at the agency at the airport?
What do you think is exciting? We are currently repositioning a service provider for emergency power systems in the market, introducing a new laundry dryer to property managers, running multi-stage dialog marketing campaigns to promote sales for an international parcel service company, and creating acquisition campaigns for transport and TV advertising marketers. We are also in the conceptual start-up phase with some industrial companies. Pan

René Eugster, the owner and creative head of the agency at the airport, not only attracted attention in Berlin because of his sequined jacket, but he also won an award - just a few hours after his 5 trophies in Frankfurt.
 

Recognize and understand what really matters in life: "The Samsung Galaxy S4 was developed to redefine our everyday lives and to always get the most out of our lives." This is how Samsung Electronics advertises the latest gadget from the Galaxy S series. The latest "cell phone" - if this term is still appropriate at all - was presented to the first VIPs at a party in Zurich on Wednesday evening. The South Koreans have already held similar events these days in New York and other major cities to celebrate the launch of their new flagship. In Zurich, the launch party was organized by Rufener Events. In addition to shows by a dance troupe and a short concert by Samsung ambassador Seven, the audience was treated to a witty prediction of the future. Trend researcher David Bosshart from the GDI delivered witty and philosophical ideas about new developments in the world of communication. Afterwards, the guests were allowed to "fiddle with their smartphones" on the exhibition devices, as presenter Hannes Hug put it.

The Galaxy S4 comes with a very large 5-inch display with full HD resolution (4.8 inches on the S3), a 13-megapixel camera (8 megapixels on the S3) and the latest Android version 4.2. Despite the larger display, the new model has not grown overall. It will cost around 800 francs. According to the marketing law of "artificial scarcity", it will be interesting to see how many Galaxy S 4s will actually be sold in Switzerland on April 27. The PR work is being handled by Compresso. (pan)

 

What is going on in television research today resembles a smear comedy. Publication yes, publication no, publication maybe, publication no, questionnaires, superprovisional order, partial publication ban, partial publication, supplement to superprovisional order, total publication ban.

We're now in the last week of April, and clients and media agencies are still poking around in the dark about TV scheduling. Sure, there were glitches in the survey and shortcomings in communication. All the reasons why things got this far will probably never be fully explained. But one thing is certain, the original Swiss system of involving all direct and indirect stakeholders in a decision-making process did not work in this case. Although the Board of Directors should be independent according to the RTVG, all members except the Chairman are directly or indirectly also customers or representatives of interest groups. The same applies to the User Commission.

It is therefore not surprising that decisions were made, but then questioned again and finally overturned. And this only happened when it was clear in detail what effects the new research would have on the individual stations. In such a way that everyone could understand it. It would be a scoundrel to think of special interests. Once again, it becomes clear that good market research is only good research that delivers good figures.

Bad figures are always and only methodologically conditioned. Let's assume that the ratings for all stations would have risen significantly in comparison with the previous year (which is not right, of course!). No one would have objected to the methodology, no one would have questioned the representativeness of the panel. No, certainly not: everyone would have patted each other on the back and celebrated the groundbreaking step into the new world of television research. Today, the industry faces a shambles. When and whether figures will be published in the first half of the year is still up in the air. But there is another aspect to the whole affair. The unspeakable and endless bickering is irreparably damaging the credibility of media user research and market research in general. And what does the regulatory authority do? Nothing.

Pierre C. Meier, Editor-in-Chief
[email protected]
 

Swisscom Advertising, the telecom provider's internal department that generates revenue through advertising on all Swisscom channels, is already represented on PCs and laptops with the Bluewin portal. It is also present on mobile devices - smartphones and tablets - with the Bluewin mobile website and Swisscom TV online. "Two years ago, we took the step onto the tablet. Now we're taking the next big step: we want to go big screen," explains Philipp Scheidegger, Head of Advertising at Swisscom. Swisscom Advertising was therefore looking for a concept with which it could offer its advertising clients and sponsoring partners a "4-screen offer". The first ideas for this emerged around two years ago. "We asked around on the advertising market and at broadcasters and agencies. But they always said: You have to have at least 500,000 households, otherwise the big screen offer is not relevant."
 
This limit has long since been exceeded. Today, around 850,000 households in Switzerland are equipped with a Swisscom TV box. With a realistic factor of 1.9 people, it can therefore be calculated that 1.7 million people can be reached with advertising via Swisscom TV. This results in a market share in the digital TV sector of around one third. A considerable impact in IPTV. This makes Swisscom the international leader.
 
Backed by these figures, Swisscom Advertising created a showcase with the support of Sapient Nitro in April 2012 and presented it to the management. Shortly afterwards, this showcase, which presents formats and placements, was presented to potential advertising partners. Philipp Scheidegger and his team at Audi met with interest in the "first IPTV advertising platform in Switzerland". During this process, everyone involved was aware that the project would only be shown on the big screen if the quality was convincing. "The big screen is also the most emotional screen. We can't do anything here that could damage the reputation of our Swisscom brand."
 
The installation of the "Raven" ad management tool from Emuse Technologies - an IPTV ad management solution similar to those used on PCs, tablets and smartphones - was completed on Swisscom TV in October. Audi was the first customer to not only opt for a basic offer, but also wanted to be present on Swisscom TV with an interactive application. This is triggered by an icon in the App Center and a display format. Anyone who activates this format, for example in the form of a skyscraper with the "Info" button on the remote control, is transferred to the Audi content. In England, where the first interactive TV advertising formats were introduced back in 2001, this transfer used to work via the red button and now works via the green button, which is why this type of advertising has also become known as "red button advertising".
 
In Switzerland, Audi has also decided to launch its own channel on Swisscom TV. Audi now offers over eight hours of video content here. The "Audi tv" offering includes regular contributions from the fields of culture, sport, lifestyle and automotive technology. The car manufacturer from Ingolstadt launched such a channel on the Internet back in 2007. The content is broadcast around the world in English or German via the World Wide Web. Only in Switzerland is "Audi tv" now also available via broadband on a big screen. Thanks to the new possibilities offered by Swisscom TV, the magazine and a constantly growing collection of articles in the archive can now be viewed exclusively in HD TV quality. "This is clearly visible progress, as films and content are loaded in milliseconds on Swisscom TV, where they often take over half a minute on other TV platforms," says Marc-Oliver Rohde from Sapient Nitro. This global marketing and IT services company and its Zurich branch are providing Swisscom with the creative and technical aspects of the new offering with interactive advertising on the TV screen.

How do I as a consumer become aware of the new offer?

With Swisscom TV, viewers can find Audi content either via the side display advertising and by pressing the Info button. The second option is the App Center. This has been available on Swisscom TV since January via the menu button on the remote control. "The App Center is very popular on Swisscom TV," says Philipp Scheidegger. When clicking on it, the viewer currently finds the "Sponsored apps" section at the top with the icon for the Audi applications. The actual usage figures can be calculated directly by Swisscom TV. For "Audi tv", these are already "sensational" after three months. Swisscom's new offer is being pushed via the "Play" magazine, which Swisscom TV subscribers receive, as well as with notices on the Bluewin portal. Audi is publicizing the new service, for example via customer mailings, at the POS or via social media.

And since buying a car is not least a matter for the whole family, the big screen is of course particularly suitable for a joint evaluation. "Advertising on a smartphone only appeals to one person at a time. Television, on the other hand, is a social medium. Here, everyone can give their opinion while watching together," says Erich Hunold, Head of Marketing at Audi. Audi's slogan is: "Vorsprung durch Technik." The opportunity to be the first to join Swisscom and to "play a pioneering role" in this new advertising technology has prompted Audi's marketing experts to bring their rich cinematic content to the Swiss public via the Swisscom TV channel.

Interactions via the remote control
An important factor in this decision was that Audi customers quickly feel at home in the TV applications, because the presentation of the content is structured in roughly the same way as on the Audi website. "The customer knows where to find what." Audi wants to "establish new customer contacts" via Swisscom TV. To this end, viewers can request a test drive or order a catalog directly via the remote control. A dealer search is built in via the Audi database. Conversely, Swisscom can - with the subscriber's consent - forward the contact details of potential customers directly to Audi.

Advertising is changing. The offer on Swisscom TV is a possible answer to many unanswered questions about how to proceed with commercials in particular when more and more people are using time-shifted television. "This is the first time that viewers can put together and control their own advertising on television. That's why they perceive this kind of voluntary advertising in a completely different way. It is more of a service offer and therefore a completely different experience than a conventional TV commercial," says Scheidegger.

To ensure that this remains the case, Swisscom Advertising wants to approach potential customers for this new offer "very selectively". "Potential partners must be able to convey added value for Swisscom TV subscribers." Potential advertising customers with their own channel on the big screen must also be a bit of a "love mark" for the Swiss. "A brand with a negative impact has no chance of being distributed on the big screen." It is also clear to everyone involved: "It is important that we do not increase the advertising pressure for viewers, but simply make the formats more interesting together."

Commitments are possible in the form of a package for at least six months. During this time, the customer can regularly update the content without having to make any technical adjustments to the app. The application is built in-house at Swisscom. Swisscom Advertising has now started talks with a handful of other companies that have both the courage and the necessary content for "the next big thing".

Andreas Panzeri

In a nutshell

Philipp Scheidegger is Head of Advertising at Swisscom. His department is responsible for generating revenue from advertising on all Swisscom channels. A newly launched offer on Swisscom TV could be a possible model for advertising on television, if more and more viewers are zapping away from commercials or watching programs with a time delay. In England, the idea has become known as "red button advertising". In Switzerland, such interactive advertising formats can be called up on Swisscom TV via the "Info" button on the remote control. This explicitly requested advertising is no longer just intended to entertain viewers, but to provide them with added value in the form of information.

This article is not about Mediapulse's communicative sidelining of the introduction of the new measurement panel (which, as we all know, is the number one topic in the industry these days). Instead, it's about the fact that the rapidly advancing digitization of the TV world is creating diverse and extensive usage data that can supplement, if not replace, conventional measurement methods for TV ratings. These four variants are the focus here:

1. digital TV

Around two million households have already switched from analog to digital television and receive services from the two market leaders UPC Cablecom and Swisscom or from the runner-up Sunrise and local network operators. Demand continues unabated, with no saturation point in sight for the time being, so it is foreseeable that the days of analog offerings are numbered. This is nothing less than a departure from the broadcasting model of the 20th century to the streaming model of the 21st century.

And there have long been software offerings and international standards with which cable TV operators can evaluate the usage behavior of their customers. For example, for product design (offer packages, bundles, prices, functions and features), for business reasons (negotiations with program providers), for customer relationship management (cross-selling and up-selling, customer retention), in order to be able to design new services (personalized offers, recommendations for content based on previous consumption behavior, targeted advertising, etc.), and last but not least for operational improvement (channel set-up, bandwidth use, etc.).

And there are external stakeholders for this data: Data processors (who aggregate and process data from various network operators), market researchers (who formulate insights based on the processed data with additional data and models), broadcasters and networks (selection of content, optimization of ad placement), content producers (design of story flow, popularity of individual actors, basis for licensing agreements), and finally for advertising: quite traditionally, to target specific audience segments more specifically when placing individual spots, but also to draw conclusions about their design.

Unlike conventional survey methods, where a small section of the audience (panel) is extrapolated to the entire viewing behavior, here the data of all customers is available. The extent to which digital TV consumers are currently representative of the audience as a whole will have to be discussed. As Werbewoche's inquiries with the market leaders show, the telecommunications companies are not (yet) eager to play an active role with their data. According to media spokesman Marc Maurer, UPC Cablecom "currently has no intention of making usage data available to companies for media planning in the advertising sector". And at Swisscom, media spokesman Olaf Schulze confirms that with the Swisscom TV products and the mobile offering Swisscom TV air, "a very broad usage database is available, the evaluation of which could be expanded." However, there are "currently no concrete plans or ideas" to process this data for the media or advertising industry.

2. web TV

In contrast to IPTV services, which benefit from technical advantages for quality assurance in the respective provider's network during transmission, web TV services are distributed via the Internet. Due to the special legal situation for the settlement of copyrights via collecting societies, offerings such as Zattoo, Wilmaa or Teleboy have been able to develop early and unhindered in Switzerland. However, it is difficult to draw conclusions about the overall population from web TV users. Karim Zekri, CEO of Teleboy AG, explains: "Basically, the ratings behave very similarly. Major events and live broadcasts, especially sports, generate the highest ratings, just as on classic TV. However, there can be deviations for individual formats due to the tendency of the younger user group or other factors. In a target group that only watches TV via Teleboy or another Internet TV provider, we are of course representative.

Michael Loss, who is responsible for media relations at Wilmaa, also mentions the comparatively lower usage of the free-access offering, and he also confirms: "However, premium customers who use the paid service can be compared well with traditional TV consumers in terms of their behavior. And at Zattoo, Jörg Meyer, Vice President in the Content and Consumer division, reports: "The usage of Zattoo over the course of the day is very much in line with the daily curve from the official reach measurement - even if there are certainly some differences in the reaches at channel level." An advantage for audience research is that all web TV users are logged in and have stored additional socio-demographic data, which is evaluated (anonymized) and made available by the service providers to advertisers for more precise target group selection.

3. smart TV

Another interesting possibility for TV reach measurement is opened up by smart TV. This is the term used to describe Internet-enabled TV sets, which have become the standard in recent times. As with smartphones, apps can be installed on smart TVs. There are already initial concepts that show how such an app logs usage on the respective device and reports it to the app operator. A special feature could be the camera installed in the latest TV models to enable video calls. It could be used for facial recognition to record the number of viewers in front of the screen to the second. And more: As photo cameras of newer design show, not only facial recognition can be realized at low cost, but also the recognition of smiling faces (which can be used to control the shutter release on cameras). For reach measurement via smart TV, this means that emotions can also be collected - which would be a real data treasure for program creators and advertisers alike. The main obstacle to such an approach is therefore hardly to be found in the technology, but in the market communication, in order to credibly explain to the audience that the data obtained in this way will in any case only be used in anonymized form.

4. social TV

There are no such data protection concerns for anyone who comments on the current TV program via Twitter or Facebook, which is referred to as social TV. Thus, with the advent of social networks, another data pool has emerged to measure TV usage, not quantitatively but also qualitatively. The pioneer in this field is the American company Bluefin Labs, which was a start-up based on research at the MIT Media Lab (Massachusetts Institute of Technology) and was acquired by Twitter in February. For more than 40 TV networks and agencies, as well as a number of well-known brands, Bluefin analyzes data streams from Twitter and Facebook in the U.S. to assign comments to current TV shows and rate them. This creates new insights into audience behavior that influence not only bookings for TV spots, but also the production of shows and commercials and their running times. And Bluefin is no curious oddity: Last December, Nielsen Media Research, the leading market research firm in the U.S. for TV audience measurement, joined with Twitter to announce the "Nielsen Twitter TV Rating," which will launch this fall and reveal how audiences respond to TV content. 

RTB also for TV advertising?

It is becoming clear that the digitization of the TV world is creating various new data sources for measuring usage and reach. Two, the data from IPTV and Web TV, are concretely available today and could be processed and evaluated. Others, such as smart TV and social TV, are on the horizon. This creates alternatives to the established reach meters, such as Mediapulse in Switzerland, and raises the question of how to deal with them. Should all the data that can provide information about TV consumption be poured into a single funnel so that they can be used to produce a uniform result that is the only valid "single currency" in the industry, as has been the case up to now? Or should the market be allowed to play its role, and those who have data should sell it, and those who need it should be able to buy it from one or more providers and process and evaluate the data for their own benefit? In that case, Mediapulse, especially since it is supported by the state, would no longer be needed.
 
How this question is answered will be decisive for the future shape of the TV advertising market. Starting from digital advertising, as many advertising slots are traded online and in real time, the idea arises to use such approaches (such as real-time bidding, RTB) also for booking TV spots, which is predicted by experts especially in the U.S. and already applied for online videos. And just as in digital advertising, data plays a key role here: those who have better insights into audience behavior can deploy their resources more effectively. And, as with digital advertising, streaming content offers the opportunity to target ads based on profile data to only those viewers who have an above-average affinity for the message based on the data analyzed. This fundamentally changes the business with TV advertising, because instead of buying it from the broadcasters as before, it would now be booked with the network operators (who in turn would have to conclude corresponding license agreements with the program providers). When and how Switzerland will implement this change (including adaptation of the legal requirements) remains to be seen and will be exciting to watch.
 
Christoph J. Walther