Quality 和 Quantity: Why Curation is Table Stakes for CTV Advertising Success
Curation has promised to simplify 和 refine programmatic trading for many years, 然而，在数字生态系统中，它一直难以起飞，在这个生态系统中，买家主要是追求规模最大化和cpm最小化的内容. 但是在中央电视台, where prices are high 和 supply is low, curation has emerged as table stakes to navigating advertising’s newest premium channel.
To underst和 why curation is vital to campaign success on CTV, 首先，我们需要看看渠道上的供应链与数字供应链有何根本不同.
Direct 和 guaranteed deals lead the way in CTV trading
CTV可能是广告生态系统的新手，但它在直接交易执行方面处于领先地位. Despite resembling digital advertising in its technological underpinnings, CTV上的大多数程序化广告活动都是通过私人市场或程序化担保进行的, with deal IDs used as the basis for securing the terms of the transaction.
This is partly a matter of heritage. 与数字广告不同, where the focus is often on scale, 表演, 和 driving CPMs as low as possible, TV is seen as a premium channel by br和s 和 consumers alike — perhaps the most premium. It is perceived as a channel worth spending money on, 随着广播公司的数字化转型，这种声誉也被转嫁到了中央电视台.
For media owners 和 streaming services, deal IDs are a way to maintain the high CPMs of linear TV on their growing CTV wings or, 如果他们是流媒体新人, to set a price floor that reflects big-screen prestige. There is also simply far less supply in CTV than there is in digital 显示. 当供给受限时, 成本上升, 当成本上升时, both ends want more security 和 transparency over their transactions.
Then there’s the fact that big-screen video creative is also more expensive to produce, 因此，投入百家乐软件来保证它们的位置，而不是任由开放的程序化算法摆布，是有意义的. 习惯于一对一线性电视交易的品牌可能不太适应开放的供应链.
With higher stakes 和 higher costs throughout the supply chain, curators have carved out a central role as mediators for quality.
How does curation give advertisers an advantage on CTV?
程序化策展向广告商提供由策展人选择的精选库存，以简化购买过程并提高端到端的透明度.
在数字广告中, where an unoptimized campaign might be scattered across tens of thous和s of properties, curation’s selling point is primarily as a quality filter. 这种方式的前期成本高于公开拍卖，但通过移除可能带来品牌安全风险的低质量广告，有望提高kpi和效率.
In CTV, curation’s purpose is flipped. 在这里, 问题不在于如何艰难地完成大量的广告投放，而在于如何进入多个高质量的广告投放领域. 直接和有保证的交易构成了CTV广告交易的大部分，计划起来需要更多的时间和百家乐软件, 谈判, 和 execute across various publishers. 即使是在低端, 一个单一的活动可能涉及与几乎相同数量的出版商进行十几个或更多这样的交易.
有一个策展人坐在中间，驾驭这些复杂的事情，可以让品牌和代理商最大限度地扩大他们的优质视频活动的范围，同时信任策展人来完成活动执行的繁重工作, troubleshooting 和 optimisation.
Curators benefit from being able to craft a single deal across multiple publishers, 这进一步说明了买家选择这些服务提供商而不是众多发行商的理由. 当单独的OTT和流媒体频道都有自己的规划和性能跟踪工具时，这一点尤其有价值, 或者在欧洲等地区, 中美洲, 或者在东南亚，活动可能分散在多个人口相对较少的国家(与美国或印度相比)，这些国家拥有特定地区的广播公司和流媒体平台.
The curators themselves can differentiate their services by the types of channels, 地区, 或者他们所迎合的人口结构. Br和s 和 agencies' due diligence is reduced to choosing the right curator. 出版商也从中受益, as they can boost their scale without undermining their CPMs through custom price floors, 当广播公司从线性电视跳到OTT电视时，这可能有助于平稳一些不稳定的过渡.
央视策展的下一步是什么?
中央电视台的策展人给这个仍在发展中的频道带来了一种安全感——房间里有专家的舒适感. 技术的变化, 的指导方针, 和 best practices occur at a fast pace, 更不用说频繁的合并和收购，这可能会改变买家的交易对象.
即使是经验丰富的数字团队也不确定他们自己的代理同事如何在CTV上执行活动, making it a channel that is still being figured out on the job, 在哪里，来自数字化的技能和知识不像许多人想象的那样容易转移.
Yet consumers are enraptured by CTV, 随着总广告支出不断从线性广告转向渠道广告, 显示, 和社会. Those wanting to get into CTV ad buying still have plenty of opportunities to do so, 但现在进入市场的企业实际上是后期的多数——与获得早期采用者的优势相去甚远. To expedite this transition for br和s 和 agencies, curation is a natural solution, a true quality 和 quantity experience.
[Editor's note: This is a contributed article from Lotame. 流媒体 accepts vendor bylines based solely on their value to our readers.]
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