The 2024–25 summer of sport is here, and Seven is setting the pace with an impressive lineup that blends tradition, technology, and some clever storytelling. From cricket to the NFL playoffs, Seven is making sure its coverage isn’t just watched but truly experienced.

Rob Maclean, Seven’s national sport sales director, says the secret to Seven’s success is inclusivity. “At its core, Seven’s sport content is for everyone. We tell stories that draw in the first-time viewer while keeping the die-hard fans engaged.”

And it’s not just about the broadcast anymore. Seven is putting digital platforms like 7plus front and centre. “We know people’s time is limited, so we offer highlights, minis, and social content for those who want a quick fix,” Maclean explains. But it’s the live-streaming options that really stand out. “Our Hindi feed for the Australia vs. India Tests reached 74,000 viewers, and we’re introducing alternate commentary like The Grade Cricketer for the Big Bash League. It’s all about catering to different fan segments.”

Maclean is confident that the future of sports broadcasting is evolving into a more curated, entertainment-driven experience, and Seven is strategically positioning itself at the forefront of this shift.

Where brands meet fans

When it comes to integrating sponsors into its coverage, Seven knows that subtlety is key. “Sports fans are smart—they know when something feels forced,” says Maclean. That’s why Seven’s 7RED division works closely with producers to make sure brands genuinely enhance the experience.

“The best integrations are entertaining, informative, or insightful,” he says. “We’re always asking, ‘Does this add value for fans?’ For example, we’ve got brands collaborating with us to create unique content that our producers actually love.”

It’s a strategy that’s clearly working, with strong advertiser interest across the summer slate. “The NRMA Insurance Test Series between Australia and India is a standout. It ticks all the boxes—big audiences, cultural relevance, and perfect timing leading into Christmas.”

Maclean also notes the growing appeal of international sports like the NFL and NBA. “Younger Australians are tuning in more because accessibility has improved. It’s easy to follow now, and that’s opening up new opportunities for brands to connect.”

Star talent and smart tech

Seven’s coverage wouldn’t be the same without its all-star commentary teams. Chris Jones, Seven’s director of sport, says this summer is particularly exciting with the addition of Aaron Finch. “Having Aaron on board gives us so much flexibility. And we’re still rolling out Ricky Ponting—he’s the world’s best cricket commentator, hands down.”

But it’s not just about who’s on the mic—it’s also about how they deliver. “We’ve made a conscious decision to focus on the action on the field. Our commentators aren’t here to reminisce about the ‘good old days.’ We aim to educate, inform, and entertain every time we go to air,” Jones says.

And then there’s the tech. Seven is pushing boundaries with new offerings like virtual sets and partnerships with companies like Quidich in India. “We’re doing player tracking and even taking viewers inside players’ helmets so they can see what the athletes are seeing,” says Jones. “This summer, we’re also mic-ing players live and non-live across all forms of cricket, including Tests. It’s game-changing.”

A summer slate to remember

With such a packed schedule, Seven isn’t just delivering sport—it’s delivering moments. “The Big Bash League will carry us through January, and we’ll wrap up the cricket season with the Women’s Ashes, including the first-ever day-night Test at the MCG,” says Maclean. “Then, February kicks off with the Super Bowl, LIV Golf Adelaide, the Supercars championship, and Australian thoroughbred racing every Saturday.”

And it’s not just sport pulling viewers in. Seven’s entertainment offering is firing too. “Home and Away is back mid-January, and our FAST channels are packed with local and international content from partners like NBCUniversal and Disney,” says Maclean.

With more people streaming than ever, Seven’s strategy seems to be paying off. “Since adding cricket to 7plus, we’ve already seen over 70,000 new users register on the platform,” Maclean says. “It’s about giving people reasons to stay engaged—not just with the sport, but with everything else we offer.”

Whether it’s short-form highlights, live-streamed alternate feeds, or Ricky Ponting breaking down the action, this is sport as it should be—inclusive, innovative, and downright entertaining.

Keep on top of the most important media, marketing, and agency news each day with the Mediaweek Morning Report – delivered for free every morning to your inbox.

Omnicom Media Group (OMG), the media services division of Omnicom (NYSE: OMC), has appointed Kristiaan Kroon as chief operating officer (COO) of OMG Australia. The newly established role signals a strategic move to bolster the group’s growth and transformation capabilities.

Previously serving as OMG Australia’s CIO for eight years, Kroon will now oversee the leadership team and drive the next chapter of growth for OMG’s portfolio, which includes agencies OMD, PHD, and Hearts & Science. His appointment is effective immediately and comes as OMG ANZ CEO Peter Horgan prepares to step down in 2025.

“As one of the most respected and well-known investment professionals in the market, Kristiaan is the best candidate to lead OMG Australia during a transformative time in the business of helping brands connect with consumers,” said Tony Harradine, CEO of OMG Asia Pacific. “His impressive track record as both an agency and industry leader makes him uniquely suited to supercharge growth and transformation for our business and clients.”

Kroon’s extensive industry experience spans over two decades, including leadership roles with Fairfax Media (now Nine Entertainment Company) and UK-based Trinity Mirror Group. Since joining OMG Australia in 2017, Kroon has led significant innovations in the group’s investment strategies, transitioning from traditional siloed approaches to the Agency as a Platform model—an integrated strategy connecting media, content, and commerce to unlock growth for clients.

Beyond his operational expertise, Kroon is widely recognised as a thought leader on pivotal industry issues, from media transparency and diversity to market regulation and measurement. These contributions have shaped OMG’s reputation as a forward-thinking organisation in the ever-evolving media landscape.

“OMG is a phenomenal business because of its exceptional people and the amazing brands that choose to work with us every day,” Kroon commented on his appointment. “In my new role, I will ensure that we remain focused on the mission: delivering both the deep specialisation and deep integration our clients need to grow sales and share in a complex marketplace.”

Reporting directly to Harradine, Kroon’s leadership appointment is the first in a series of structural changes as OMG prepares for expanding client needs in both Australia and New Zealand. A New Zealand leadership announcement is expected in early Q1 2025.

This transition underscores OMG’s commitment to future-proofing its agencies with top-tier talent, cutting-edge technology, and a client-centric approach to growth, ensuring continued success in an increasingly dynamic market.

Keep on top of the most important media, marketing, and agency news each day with the Mediaweek Morning Report – delivered for free every morning to your inbox.

Nine’s chief sales officer Michael Stephenson has resigned from the role he held for almost a decade, with Nine executive Matt James appointed to the role on an interim basis.

Stephenson was a member of Nine’s Group Leadership Team, with accountability for the company’s advertising revenue across its Total Television, Total Publishing and Total Audio assets.

Nine acting chief executive officer, Matthew Stanton said “Since Michael joined as Director of Sales for ninemsn almost two decades ago, Nine has successfully responded to the changing industry dynamics and consistently performed strongly in the advertising market. During his tenure, Nine has developed the television trading platform 9Galaxy, launched self-serve advertising platform 9AdManager and rapidly grown our BVOD revenue share to 47 per cent in FY24.

“We are fortunate that high-calibre media executive Matt James is stepping in to lead the Sales team to ensure continuity for Nine’s key partners and sales team. With experience on both the media and agency sides, a strong background in digital, and extensive knowledge of Nine, Matt is well placed to ensure he hits the ground running with the Sales team during 2025.”

For the past four years, James has been managing director of Nine Melbourne and more recently has worked closely in a senior strategy role across the wider Nine Group, as part of the Nine2028 transformation team.

Prior to taking up the Melbourne role in 2020, he was CEO of global media agency Zenith based in London after previously holding the roles of inaugural Group CEO of Publicis Media and CEO of Zenith Australia and New Zealand. James held senior roles with Nine earlier in his career, including Group Director of the client solutions division, Powered, and Managing Director of Nine’s Digital Media division.

A recruitment process to confirm the appointment of a chief sales officer on a permanent basis is expected to be finalised in the New Year.

Wide World of Sports is set and ready to serve up the summer of tennis when national pride goes on the line in the United Cup, from 27 December on the 9Network and to stream on 9Now.

With every game available live and free, Australia will take on the world in Sydney and Perth for the annual mixed-teams event.

The best men’s and women’s players from 18 nations will compete for US$10 million prize-money in the special United Cup format where each tie includes one men’s singles, one women’s singles, and a mixed doubles match.

The United Cup will feature seven of the world’s top 10 women and six of the world’s top 12 men, including superstars Alex de Minaur, Iga Swiatek, Coco Gauff, Alexander Zverev, Taylor Fritz and Greek duo Stefanos Tsitsipas and Maria Sakkari.

Joining De Minaur on team Australia in Sydney will be Paris 2024 gold medallist Matt Ebden and top 100 women’s singles player Olivia Gadecki.

Broadcast schedule:

The tournament commentary line up will include Nine’s Jelena Dokic, Jim Courier, Todd Woodbridge, Sam Smith and Casey Dellacqua in Sydney, while Mark Philippoussis and David Culbert will commentate on coverage for the hotly contested group stages in Perth.

Wide World of Sports tennis expert, Jelena Dokic, said: “The United Cup format is unique and so great because it brings men’s and women’s tennis together creating a team environment that players love and tight contests.

“The United States go in as favourites this year with Coco and Fritz, but Australia can do really well with Olivia Gadecki on the rise and De Minaur being injury free. He thrives playing at his favourite court in the world, Ken Rosewall Arena, where he beat Novak Djokovic last year.

“De Minaur could be playing against his girlfriend Katie Boulter with Australia meeting Great Britain in the group stages for the mixed doubles tie. I’m expecting the mixed ties will produce many close match ups and decide which nation will progress.

“Getting plenty of matches under your belt coupled with being in a team environment, is a great way to start the tennis year and build momentum going into the Australian Open.”

The 9Network’s coverage will be hosted by Roz Kelly, Nick McArdle and Zac Bailey on Channel 9HD and 9GemHD, with every match streamed on 9Now.

Jetstar and creative agency Thinkerbell are encouraging Aussies to build their own Sandman in a new content series, Seeking Sandmates.

The series tells the story of a Sandman on his quest to find other Sandmates and avoid spending Christmas alone. Travelling to destinations across the country and testing out different types of sand, Aussies are invited to join in the fun by building their own Sandperson for a chance to win up to $100k worth of flights.

Sandpeople will pop up across TV, Social, OOH and Online during the Christmas Holidays.

“We may not have snow here in Australia at Christmas, but we do have more sandy beaches than anywhere else in the world and an airline that can get you to them, for very little,” Tom Wenborn, chief tinker at Thinkerbell, said.

“Let’s hope this new Jetstar tradition catches on, and we see merry little Sandpeople pop up all over the country,” he added.

This campaign work from the Australian budget airline comes after a busy period of campaigns for the creative agency. Last week, Thinkerbell teamed up with Vegemite in a campaign to help first-time consumers of the iconic spread enjoy their first bite. ‘Unite with VEGEMITE’ sees Aussies across the country rally together to help introduce the taste to a whole new generation who might be missing out.

Thinkerbell also worked with Lifeline to unveil ‘Lonely Christmas Cards’ campaign, aimed at raising awareness and funds to tackle the growing challenge of loneliness as 1 in 3 Australians set to experience it this holiday season. The ‘Lonely Christmas Cards’ feature designs from a team of illustrators who reimagine traditional holiday greetings, transforming festive messages into poignant reminders of the emotional struggles many face at Christmas.

Credits
Creative: Thinkerbell & Sam Cotton
Client: Jetstar
Illustration & Animation: Sam Cotton
Production: Hotel Bell

Keep on top of the most important media, marketing, and agency news each day with the Mediaweek Morning Report – delivered for free every morning to your inbox.

BBC Studios and The Walt Disney Company have announced the first-ever animated feature film for Bluey, the Emmy and BAFTA Award-winning animated series.

The new deal sees Disney acquiring the global theatrical rights for the film, which will land in cinemas in 2027 under the Disney banner.

Bluey creator Joe Brumm will write and direct the film in collaboration with BBC Studios. Ludo Studio’s co-founders and directors Charlie Aspinwall and Daley Pearson recently won the Variety Australia Entertainment 50 at Mediaweek 100.

The movie will continue the adventures of Bluey, a loveable, inexhaustible, blue heeler dog, who lives with her Mum, Dad and her little sister, Bingo, delivering the same charm and humor that made the television series a global phenomenon,

Brumm said: “I really enjoyed the experience of working with a longer format on ‘The Sign’ in Series 3, so going even further with a feature film feels like a natural extension of that. I’ve always thought ‘Bluey’ deserved a theatrical movie. I want this to be an experiential event for the whole family to enjoy together. I’m excited to continue to partner with Cecilia Persson, Tom Fussell and the team at BBC Studios, and Dana Walden, Alan Bergman and Disney to bring this new ‘Bluey’ story to the big screen.”

Alan Bergman and Dana Walden, co-chairmen, Disney Entertainment, said: “Since its debut on Disney Jr. and Disney+, ‘Bluey’ has become a global phenomenon, uniting families everywhere with its heartfelt stories of play, imagination and connection. We are so proud to expand upon our relationship with BBC Studios to bring the magic of ‘Bluey’ to the big screen – for real life! – and we are deeply grateful to Joe Brumm for creating a world that continues to inspire and delight families everywhere.”

Tom Fussell, CEO, BBC Studios, said: “We are incredibly excited to take ‘Bluey’ to cinemas given its extraordinary success on a global scale – it is some of the most popular IP in the world. It has been such a privilege to work with Joe and the team at Ludo on ‘Bluey’’s meteoric rise from inception through to becoming one of the most beloved TV shows of all time. BBC Studios has a long history of bringing the very best children’s television to the world in new and exciting ways, so working with Joe and the team, we felt a feature-length film was the natural next step. We are pleased to work with Disney on ‘Bluey’’s eagerly awaited theatrical debut and look forward to partnering with Dana, Alan, and the entire team on this momentous journey.”

Pearson and Aspinwall said: “Over the past eight years, we’ve had the privilege of working alongside an extraordinary team of more than fifty artists and producers whose talent, dedication, and creativity have shaped ‘Bluey’ into the beloved series it is today. Their work has paved the way for this incredible opportunity to expand ‘Bluey’’s world onto the big screen. We’re excited to continue showing Queensland as a home for world-class talent and to share a new beautiful ‘Bluey’ story by Joe Brumm with families around the world.”

The film will star vocal talent from the hit show including Melanie Zanetti and David McCormack as Bluey’s mum and dad, Chilli and Bandit Heeler, and music created by “Bluey” composer Joff Bush.

The CG animated film will be produced by award-winning animation producer Amber Naismith (Happy Feet, The Lego Movie, The Lego Batman Movie) with Richard Jeffery returning to co-direct (“Bluey” Series 1-3), Joe Brumm is executive producer, with Aspinwall and Pearson from Ludo Studio, alongside Justine Flynn for BBC Studios. For Disney, the film will be overseen by David Greenbaum, president of Disney Live Action and 20th Century Studios, and his team.

By Taylor Fielding, CEO of TFM Digital Brisbane

Relevance has never felt more relevant. In 2025 it will be supercharged through technology. For those of us in media, our audiences are paramount. Understanding their behaviour, motivations and intentions will continue to be a key battleground for marketers.

And the key to relevance is personalisation. After all, who among us doesn’t want to feel like we’re being treated as an individual? There needs to be that personal connection felt by consumers, to act on brand messages. So the next 12 months is not just about knowing your niche audiences but being able to reach them with the feeling of tailored content at scale.

Start early

Dynamic creative allows for every audience member to feel like the messaging is directed at them. Whether it’s your location, search history or weather conditions, Dynamic Creative Optimisation (DCO) can iterate campaigns in real-time to make ads feel more relevant. Thousands of variants can be optimised to deliver the best one for your next customer, with better outcomes for marketers. Omnichannel personalisation can improve lead generation by 46%, and drives results regardless of the overall business objectives.

All of this is why the DCO space is expected to double within the next six years.

It’s a compelling approach for brands, however it does require planning. DCO conversations should start early in the campaign discussion. This way the creative idea, can be informed by the personalisation potential.

As with any media process, or technology platform for that matter, it’s definitely a case of sh*t in sh*t out. Your audience data and its segmentation must be clean and formatted correctly. Rich data sources will offer you the chance to achieve much higher results.

So for anyone that may have experienced average results from a DCO campaign, I’d say review your inputs, as that’s likely where it will have been let down.

What’s changed?

DCO has been around for a long time, since I first started. However automation technology is getting better, to the point where it can start to step in when information may be missing or incomplete.

According to one industry pioneer with almost a decade of experience in this area, AI is a powerful tool to help plug gaps in the creative process, whether that’s copy or even design. Alice Charlton, Addressable Content Lead at Hogarth believes: “It allows brands to think more laterally and inclusively about their creative, even if budgets traditionally didn’t allow for this with limited assets or content, for example”.

What’s next?

We’re seeing more brands request these types of campaigns, whether that’s across their DOOH, CTV or online channels. Charlton agrees that continued advancements in technology will extend higher quality, audience driven data, as well as live API data across channels, ‘making content feel more live, relevant, and personal, than ever before”. Particularly for OOH, where following improvements with the expected Move 2.0, we forecast more real-time ads which capture the mood of the local audience.

The ingredients are in place from a brand perspective, the environment with technology advancements is there, and consumers are already stating that they want more relevancy. Which is why I believe DCO campaigns are set to explode over the next 12 months.

–

Top image: Taylor Fielding

Keep on top of the most important media, marketing, and agency news each day with the Mediaweek Morning Report – delivered for free every morning to your inbox.

Free TV Australia has welcomed the government’s one-year suspension of the Commercial Broadcasting Tax from June 2025, estimated to cost the local commercial television industry $50.3 million, announced in the mid-year economic and fiscal outlook (MYEFO).

“The temporary suspension of the Commercial Broadcasting Tax is an important step towards supporting the long-term sustainability of Free TV broadcasters, and we are grateful for the Government’s recognition of the important role of local commercial television services to a healthy media sector,” said Bridget Fair, CEO of Free TV.

The tax, which is levied on transmitter licences associated with commercial broadcasting licences, was introduced in 2017 as part of regulatory reforms aimed at improving the financial health of Australia’s free-to-air broadcasters. It was positioned as an “interim” measure for up to five years.

“The Commercial Broadcasting Tax is really just a hangover from the old super-profits tax of the past. It is well and truly time for it to be permanently abolished,” Fair said.

“The tax disproportionately affects regional broadcasters who need more transmitters to broadcast to regional and remote areas. It undermines the ability of all broadcasters to compete fairly with digital platforms and global streamers, who do not face the same tax or regulatory obligations, yet compete with and sell advertising against commercial broadcasters.”

The industry body for commercial free-to-air broadcasters will work with Government to remove this tax burden on a permanent basis. It is out of step with comparable jurisdictions, and is no longer justifiable, given the changing competitive landscape and public policy benefits of a sustainable local television sector.

“If the CBT is permanently removed, broadcasters could redirect these payments to creating the Australian content they are regulated to provide, and towards maintaining broadcast infrastructure, to ensure free TV remains available to all Australians,” Fair said.

“Free TV has a strong future ahead, reaching over 20 million Australians each week. We urge the Government to recognise the vital role that free-to-air television plays in our media landscape and to permanently remove this tax,” she added.

–

Top image: Bridget Fair

Keep on top of the most important media, marketing, and agency news each day with the Mediaweek Morning Report – delivered for free every morning to your inbox.

Uber One, Redbull, One NZ and McDonald’s have been named partners with Live Nation ANZ for the 22nd Rhythm & Vines (R&V), New Zealand’s New Year’s music festival held at Waiohika Estate from 29 December – 1 January 2025.

This year’s brand partnerships are set to take centre stage, with each collaboration carefully curated alongside Live Nation’s media and sponsorships team to enhance the overall festival atmosphere.

From the rise of short-form educational videos to the continued growth of augmented reality (AR), Snapchat users have embraced different ways to engage with the world.

The platform unveiled its 2024 year in review and predictions for 2025, highlighting the key global trends and insights into how its community of over 850 million monthly active users connected, created and consumed content.

Ryan Ferguson, Snap Inc. managing director for Australia and New Zealand, said: “Snapchat isn’t just where Gen Z is—it’s where they live digitally. The unparalleled attention advertisers receive on our platform, combined with our deep connection to this highly influential demographic, creates an unmatched opportunity to build meaningful brand relationships.

“This year, Snapchatters loved giving their Bitmoji’s a glow-up, using lenses to try out new beauty looks, dreaming about their next destination, and going all in on their favourite sports. As we look towards 2025, it’ll be exciting to see how Snapchat can continue to nurture the rise of creators in Australia and how brands will find innovative ways to connect with customers.”

Ryan Ferguson

2024: A Year of Connection and Creation

●  Moving Fashion Forward: Fashion is all about self-expression, and Snapchat makes it even easier for the Snapchat community to explore their style with AR try-on Lenses, Bitmoji Fashion, and more. This year, Snapchatters loved giving their Bitmoji a makeover with the trending baggy look and had fun trying out luxury accessories without having to step foot in-store, making luxury more accessible than ever.
○  Some of the most shareable Sponsored Lenses in retail luxury globally by product category include: Dior and Stone Island, Chopard – Jewelry, Cartier – Watch.
○  The top purchasable Bitmoji fashion garments of 2024 are: Baggy Sweatpants, Baggy Skater Jorts, Baggy Camo Cargo Pants, Plush Pumpkin Slippers, Plush Cat Slippers
○  The most popular apparel and accessories product categories that advertisers made Sponsored Lenses for were: eyewear, clothing, hats, footwear, jewelry, and watches.

●  New Look, Who Dis? Beauty continued to thrive on Snapchat with AR try-on making it even more fun to share new looks and routines with close friends. Whether Snapchatters were polling the group chat on a new lip color or testing out the latest eyeliner trend, beauty Lenses drove higher engagement compared to the average AR Lens.
○  In 2024, nearly 113 million Snapchatters globally have experienced a Sponsored beauty Lens at least once.
○  This year, Snapchatters also viewed over 262 million hours of beauty content on Spotlight globally

●  Sh(AR)ing is c(AR)ing: There’s a reason Snapchat commercials, Snap Ads, and AR Lenses globally deliver over 5x more active attention when compared to other social media platforms. From try-on Lenses to immersive brand storytelling, AR puts Snapchatters at the forefront and bridges the gap between everyday moments and innovation. In 2024, this was particularly exciting for Snapchatters when it came to Lenses featuring their favourite movies and food. Some of the most shareable Bitmoji Lenses globally include: Applebee’s and Pepsi.

● Snap Around the World: From getting a sneak peek at their dream destination on Spotlight to taking Snaps of their journey in real-time, global exploration happens on Snapchat. In 2024 alone, Snapchatters globally viewed over 73 million hours of travel content on Spotlight, serving as digital travel inspiration for friends and family!

● Fueling Sports Fandom Sports continued to transform the fan experience and bring Snapchatters together, with more than 25 million minutes spent on sports content within Spotlight globally, on average. Whether fans were using the platform to celebrate live moments, share reactions, or simply rally behind the athletes Snapchatters love, the Snapchat community took the opportunity to connect with each other and their favorite leagues, teams, sports figures, and content creators.

Snapchat predicts 2025 it will be a pivotal year, particularly for creators

● The Rise of Niche Creators: Authenticity and shared values will be key in 2025, with niche creators poised to flourish by connecting deeply with communities that share their passions. While AI tools become increasingly important, human connection remains paramount.

● Educational Content Takes the Lead: Short, informative content will reign supreme. Building on the trend of snackable highlights from major events like the Paris Olympics and Euros, 2025 will see increased demand for easily digestible educational content. Brands and creators who provide valuable insights will foster stronger communities.

● Retailers Balance Value and Aspiration: Economic pressures will continue to shape consumer behaviour. Retailers will need to strike a balance between offering value and fulfilling aspirations. Premium brands will increasingly leverage creator partnerships for authentic marketing, while AR will bridge the gap between aspiration and practicality by allowing customers to visualise products before purchase.

● Sports Build Deeper Connections: Athletes will leverage Snapchat to deepen connections with fans by sharing their personal stories and values. Major events like the 2025 Women’s Euro Championships and Women’s Rugby World Cup will further accelerate the growth and visibility of women’s sports, attracting new fans through the rise of superstar athletes.

● Measurement Matters: In a privacy-focused era, measurement remains crucial for marketers. Platforms offering robust measurement tools like marketing mix modelling (MMM) will be essential for demonstrating ROI and optimizing campaigns while maintaining brand awareness.

Keep on top of the most important media, marketing, and agency news each day with the Mediaweek Morning Report – delivered for free every morning to your inbox.

Integral Ad Science (IAS) has released its new Quality Attention Optimisation product in beta and its new, first-to-market partnership with Lumen Research, the global attention technology company, to offer Social Attention measurement through IAS and provide advertisers the ability to measure attention across both programmatic and social campaigns.

As the only attention measurement product in-market to unify media quality and eye tracking with machine learning to deliver proven results, IAS Quality Attention already demonstrates the effectiveness of attention for advertisers to drive a lift in business outcomes, with campaigns achieving up to a 130% lift in conversion rates when comparing high attention impressions vs low attention.

With IAS’s new product, advertisers have a new, simplified and automated way to optimise their campaigns towards high-attention scoring impressions or away from low-attention scoring impressions, driving up attention scores and performance across digital display and video on the open web.

“Marketers want to understand two things about their ad budgets, ‘is it working?’ and ‘what can I do about it?’”, said Srishti Gupta, chief product officer of IAS. “Attention is rightly growing as a way to answer those questions, going beyond isolated metrics like viewability, to truly understand how consumers are engaging and interacting with brands’ ads.

“Our attention measurement is already industry-leading to answer the first question, and Quality Attention Optimisation brings a new, simple way for advertisers to action insights from their measurement scores to boost their results.”

Advertisers can improve their ROI through IAS Quality Attention Optimisation by:
• Reducing Cost/Waste: Optimize away from low-attention inventory sources to improve performance across the marketing funnel.
• Reach: Target high quality placements to achieve greater reach as more ads are seen with greater attention.
• Awareness: With more brand and product choices for consumers now than ever before, advertisers can drive awareness by showing ads where they stand to garner the most attention.
• Consideration: Meet/exceed KPIs by ensuring ads appear in environments that are optimal for success.

Gupta said: “Alongside our Quality Attention product, bringing social attention measurement with Lumen to our customers offers a holistic approach to understanding how their campaigns are driving attention with consumers across platforms and screens, in order to maximize their return on ad spend, and we’re excited to keep building on our successful partnership with Lumen.”

Lumen’s attention models measure over 300 billion impressions across multiple social platforms, powered by its innovative predictive eye-tracking technology. Lumen has the largest, opted-in eye-tracking dataset in the world, covering 30+ countries, that is continuously updated to provide the most up-to-date models, offering a robust way for advertisers to buy social impressions that they can be confident are actually being seen.

“We’re thrilled to partner with IAS to expand both the scope of IAS Quality Attention and the actionability of its insights via pre-bid segments, and to bring our Social Attention measurement reporting to IAS customers,” said Mike Follett, CEO, Lumen Research.

“Linking attention to outcomes, then providing tools to allow advertisers to optimize for those outcomes, are major steps on the road to a real ‘Attention Economy’.”

The IAS Quality Attention Optimisation beta is open to advertisers now, and new Social Attention Measurement with Lumen will be live for IAS customers from January 2025.

In January 2024, IAS announced the general availability of its Quality Attention measurement product – the first to unify media quality and eye tracking with machine learning and provide transparent metrics to help global advertisers increase return on investment, drive brand consideration, and boost conversions.

Measurement was expanded to mobile-in app in July 2024, and IAS announced its extension of Quality Attention to Publishers, giving publishers actionable ways to maximise their inventory for attention metrics, in October 2024.

Keep on top of the most important media, marketing, and agency news each day with the Mediaweek Morning Report – delivered for free every morning to your inbox.

Stop doomscrolling, because there’s new news: an English TikTok star is packing their bags for South Africa. Yep, there’s an international social media star heading into the jungle when I’m A Celebrity… Get Me Out Of Here! premieres live on Sunday, 19 January.

They’re trading their FYP for creepy crawlies and their adoring fans for snoring campmates. The only thing they’ll be posting in camp is a cry for help!

The TikTok Star will be going viral with lots of famous friends, including an Influencer, Reality Royalty, a Hero, an Olympian, a TV Host, an Award-Winning Actress, a Footy Legend, a Comedy King, an AFL Star, a Reality Star and a Leading Man.

Check out the clue below and keep your eyes peeled for more hints as we get closer to Sunday, 19 January.

Skye Wheatley won the 10th season of Channel 10‘s I’m A Celebrity… Get Me Out Of Here!, beating out fellow top three contestants Callum Hole and Tristan MacManus.

Wheatley is an influencer and finished third in season 11 of Big Brother Australia. During her time in camp, she never shied away from feeling the big feelings, crying, laughing, and singing her way through every mood.

Wheatley’s charity, Bully Zero, is Australia’s leading bullying prevention charity. It was begun by founder Ali Halkic after his son died by suicide after falling victim to cyberbullying. Bully Zero provides evidence-based education, advocacy, and support for all communities across Australia.

Season 10 saw Aussie darling Robert Irwin – a passionate conservationist, zookeeper, photographer, and son of Steve Irwin – join the show to co-host alongside Julia Morris.

Ahead of his debut, Irwin was named Australia’s most popular broadcast personality in the Australian Talent Index’s 2024 Top Talent Report – before the show had even aired.

Irwin, a relative newcomer to Aussie screens, took out the top broadcast talent spot, eclipsing the last report’s winner – comedian and TV personality Hamish Blake – in his debut appearance on the list.

Alongside his top broadcast position, Irwin was also voted number one broadcast talent by women and was considered the celebrity who gives the most back to the community, according to the Index.

–

Mediaweek Morning Report: Sign up here for the most important media, marketing and agency news delivered to your inbox every day

Rockhampton handyman Jaymon wants to trade the tools for music fame when star-making series Australian Idol returns to Channel 7 and 7plus in 2025.

The 22-year-old proud Indigenous man wants to represent his community and realise his lifelong dream of becoming a full-time musician.

“Growing up as an Indigenous kid, I’d love to inspire other kids to chase their dreams and give everything a crack!” said the laid-back Queenslander.

During his audition, Jaymon impressed the judges with a stunning acoustic version of Ronan Keating’s take on Garth Brooks’ If Tomorrow Never Comes.

“One contestant after another, you’ve got no idea what they’re going to do. Then, every now and again, a gem walks through the door,” said Judge Kyle Sandilands of Jaymon’s performance.

On Seven, 2024’s Australian Idol Grand Finale saw 23-year-old Denvah Baker-Moller from Rockhampton, 25-year-old Amy Reeves from Broome, and 31-year-old Dylan Wright from the Northern Rivers take to the stage as the final three.

Ultimately, it was father-of-two Dylan who took home the crown.

Each contestant had to sing a song in one final effort to impress Australia.

First up was Denvah singing Fleetwood Mac‘s Landslide.

“You always pick the perfect song,” Kyle said.

“You nail it. That’s why you’re in the top three.”

Next up was Amy singing Bang Bang by Jessie J featuring Ariana Grande and Nicki Minaj.

“I’m all teared up because, as you know, I knew your Dad,” Marcia said after her performance.

“And in heaven, I’m sure he’s up there, smiling on you. I am so proud of you. You have just stepped up and [are] leaving people in your wake.”

Finally, Dylan sang Elton John‘s Tiny Dancer.

“It is so your turn, Dylan,” Amy Shark said.

“I’m so happy for you.”

“The whole country’s in love with you, You are fantastic,” Kyle added.

Halfway through the finale, the votes were tallied and Denvah was sent home in third place, with Dylan and Amy making it through to the top two.

“Regardless of what happens, I think you’re going to be just fine,” Marcia said.

Kyle said, “Denvah, you are an absolute star, thank you very much for sharing your gift with us.

“I’m a new country fan because of your music.”

Finally the winner was announced, with Dylan Wright named Australian Idol of 2024.

“I’m about to cry, thank you!” he said, after his name was called.

Wright won a recording contract with Sony Music Entertainment Australia and $100,000 in prize money.

Australian Pork, the national representative body for Australian pig producers, and Hello Social have teamed up to launch a new digital Christmas campaign featuring chef Colin Fassnidge in collaboration with viral TikTok personality My Nonna Fina.

The tongue-in-cheek carol, featuring former Flight Facilities and Peking Duk vocalist Lucy Washington, is a spin-off of the Christmas classic, Ding Dong Merrily On High.

The new rendition nods to the passion of home cooking, the amusing yet testing family dynamics of Christmas and, of course, the succulent sounds and flavours of roasted Christmas pork.

“We have fantastic brand assets and a delicious product experience in roast pork with crackling,” Rob Farmer, chief marketing officer at Australian Pork, said.

“We’ve had a lot of fun mixing these ingredients in a new way this festive season, with the help of some great social talent, to make pork even more front of mind for the big day meal.”

 

View this post on Instagram

 

A post shared by Maddie and Nonna Fina (@mynonnafina)

Sam Kelly, managing partner at Hello Social, said: “We love that Australian Pork were so up for leaning into their playful tone of voice and doing something more disruptive than your standard ‘cooking with me’ influencer piece.

“Collectively, we wanted to do work that held true to their distinctive brand assets yet also stood out. Based on the early engagement, this collaboration has certainly made its mark with fans on social.”

The campaign is live across TikTok, META and Spotify.

CREDITS

Client – Australian Pork
Chief Marketing Officer: Rob Farmer
Marketing Director, Brand: Eunbi Lee
Brand Manager: Ashleigh Dyson
Assistant Brand Manager: Lorin Sahin
Foodservice Trade Marketing Manager: Kylie Roberts

Agency – Hello Social
Managing Partner: Sam Kelly
Client & Talent Lead: Daniella Brenner
Art Director: Sam Brand
Post & Edit: Andrea Franco
Media Lead: Gidon Jacobs
Talent: Jessica Campion
Cinematographer: Studio Ahwa

Keep on top of the most important media, marketing, and agency news each day with the Mediaweek Morning Report – delivered for free every morning to your inbox.

November saw a real mix of Aussie creators lift their followings across TikTok, Instagram, and YouTube.

Aussie actor Zac Burgess saw a significant lift in his Instagram following in the wake of the premiere of Amazon Prime’s Cruel Intentions with a reel of him and co-star Savannah Smith garnering some 1.3million views.

On TikTok, nutritionist Alyssa Coady was also among November’s fastest growing creators with many of her recipes consistently garnering hundreds of thousands of views, and in some cases, millions of views.

Meanwhile, on YouTube, Road Truck Adventures was amongst the fastest growing creator accounts in December as viewers followed channel host Johnno’s latest trip from Melbourne to Townsville.

The 52-year-old’s YouTube is one of the more prominent Australian “trucker tube” accounts which follow the journey of long haul truckers on the platform.

“We have seen a bit of a shift in what is popular on the platforms as we move into summer,” said Lucy Ronald, Fabulate’s head of strategy and talent. “Creators who are prioritising entertainment, recipes, and sport are experiencing the strongest audience growth.”

Each month, Fabulate—named Australia’s Best Influencer Marketing Technology at the industry’s AiMCO Awards in March—uses data from its Fabulate Discovery Platform to help marketers and agencies identify the best up-and coming Australian creators on TikTok, Instagram, and YouTube.

In recent months, Fabulate launched its new SparQ video-led AI tools, designed to give marketers the on-demand ability to better protect their brands across social platforms. The company also secured a spot in the top 10 of the prestigious Deloitte Tech Fast 50 last month.

Tuesday 17 December 2024: VOZ Total TV Ratings Overnight Top 30 – Programs ranked on reach

Total People TV Ratings

Nine’s The Hundred with Andy Lee – Christmas Special recorded a total TV national reach of 1,352,000, a total TV national audience of 607,000, and a BVOD audience of 47,000.

Nine’s 9News recorded a total TV national reach of 1,693,000, a total TV national audience of 1,072,000, and a BVOD audience of 84,000.

Seven’s Seven News recorded a total TV national reach of 1,970,000, a total TV national audience of 1,105,000, and a BVOD audience of 58,000.

Seven’s BBL – Syd Thunder v Adelaide recorded a total TV national reach of 1,965,000, a total TV national audience of 561,000, and a BVOD audience of 37,000.

10’s airing of Deal or No Deal: Celebrity Jackpot recorded a total TV national reach of 606,000, a total TV national audience of 216,000, and a BVOD audience of 11,000.

People 25-54

Nine’s 9News:
• Total TV nation reach: 453,000
• National Audience: 277,000
• BVOD Audience: 41,000

Nine’s The Hundred with Andy Lee – Christmas Special:
• Total TV nation reach: 398,000
• National Audience: 190,000
• BVOD Audience: 25,000

Seven’s BBL – Syd Thunder v Adelaide:
• Total TV nation reach: 697,000
• National Audience: 191,000
• BVOD Audience: 20,000

10’s Deal or No Deal: Celebrity Jackpot:
• Total TV nation reach: 207,000
• National Audience: 67,000
• BVOD Audience: 6,000

People 16-39

Nine’s 9News:
• Total TV nation reach: 158,000
• National Audience: 97,000
• BVOD Audience: 20,000

Nine’s The Hundred with Andy Lee – Christmas Special:
• Total TV nation reach: 153,000
• National Audience: 68,000
• BVOD Audience: 12,000

Seven’s BBL – Syd Thunder v Adelaide:
• Total TV nation reach: 303,000
• National Audience: 88,000
• BVOD Audience: 12,000

10’s Deal or No Deal: Celebrity Jackpot:
• Total TV nation reach: 71,000
• National Audience: 23,000
• BVOD Audience: 3,000

Grocery Shoppers 18+ TV Ratings

Nine’s 9News:
• Total TV nation reach: 1,362,000
• National Audience: 863,000
• BVOD Audience: 68,000

Nine’s The Hundred with Andy Lee – Christmas Special:
• Total TV nation reach: 1,072,000
• National Audience: 486,000
• BVOD Audience: 38,000

Seven’s BBL – Syd Thunder v Adelaide:
• Total TV nation reach: 1,489,000
• National Audience: 418,000
• BVOD Audience: 28,000

10’s Deal or No Deal: Celebrity Jackpot:
• Total TV nation reach: 477,000
• National Audience: 166,000
• BVOD Audience: 9,000

Data © OzTAM and Regional TAM 2024. Not to be reproduced, published or communicated (electronically or in hard copy) in whole or in part, without prior written consent of OzTAM and Regional TAM.