The Evolution of Ad Tracking with AD ID: Insights from Nada Bradbury

Laura: 00:00:32

welcome.

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Today we have on Nada Bradbury at id

Nada is with us to share a little bit

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of insight on where ad id, what we

know of that Id nowadays, . I know

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I've been in broadcast for years as

well and moving into the digital realm

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over the past 15 years, and I know,

tracking and that sort of thing has

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become so important and attribution is

so important as it was in television.

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And I'm interested to hear what Nada has

to say about what it's like going into

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the, the future of digital here and what

she sees with AI and everything else.

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Welcome, nada.

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Nada: Thank you Laura.

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It's so great to be here and I really

love the fact that you know about Adid.

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I've been here for about three

years and I came in as CEO

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in order to bring Adid into.

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The digital world, right?

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Making sure that we're evolving

as the media ecosystem evolves.

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And what I came to find out is that even

though Adid has been around for over 20

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years, even though we service over 80%

of Fortune 500 companies, we call the

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top advertisers in the world, our clients

as well as publishers and agencies.

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Little is known about it and most people

are like, wait a minute, what is AD id?

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What does it do?

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And so it's exciting to be here

to talk about it and especially

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talk about it with somebody who,

actually knows what AD ID is.

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So for those that don't, Laura,

can I give a little explanation?

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Would that be good?

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Laura: Oh, that would be wonderful.

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Nada: Excellent.

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So, think about a UPC code, right?

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We're, all very familiar with products.

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When we're in a store,

we have to scan them.

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They have a UPC code.

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That UPC code on a product

carries all kinds of information

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known as metadata, right?

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So it'll tell you what the brand is, what.

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Product is what the size of it is,

what flavor, all kinds of good things.

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The same goes for ad IDs.

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So ad IDs were created in

order to contain metadata about

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creative advertising assets.

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Whatever creative ads are, put into

the marketplace should have an AD

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ID associated to them and when they

register it with AD id, we are a,

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standalone independent industry

standard within North America,

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although we are also utilized globally.

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When an advertiser, an agency, or a

publisher registers a creative with

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us, it automatically generates a unique

code that is associated just to that

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one ad and it's metadata so that you

can have correct information about

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what creative is being served what

is the brand, what is the length, is

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there sag after a talent involved?

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And then.

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Folks utilize that throughout the

ecosystem to make sure that they

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are placing the ad appropriately to

make sure that there's communication

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between advertisers, agencies,

and publishers in understanding.

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What kind of payments need to be

made, how often was it showed?

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And ultimately, what is

the return on investment?

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And I hope that we get to talk a little

bit about all of that and how it benefits

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brand marketers in the ecosystem.

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But I think just to tie this up on,

what we are most importantly, we

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were created over 20 years ago by

the four A's and the a NA to serve

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the industry and their constituents.

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They wanted to make sure that there

was transparency and accountability out

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there, and that's how we came to be.

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And I always like to think that they

were way ahead of their time because if

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you think about just linear television

before just audio things were so simple.

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Laura: Mm-hmm.

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Nada: Everything is exploded, right?

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And if there's ever a time to have

simplification and a way to access

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insight about a creative and how

it's performing and where it's going,

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it's now because it's so complicated

and it feels like the Wild West.

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Laura: Well, tell me, how does a, if

a marketing director is not aware, or

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an advertiser is not aware of how to

implement Adid, what would be some of

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the first steps that they would take?

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Nada: So there's quite a few

different ways we, we try to make

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the process as easy as possible.

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An advertiser, that the brand, brand

director may be, working for could

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be in direct relation with us, right?

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So they have, an opportunity to have

direct access to a ui and they are

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creating these IDs and the metadata

associated to it on their side.

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Sometimes somebody like a Procter

and Gamble may wanna do it on

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their side as well as enable third

parties on their behalf when it's

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traveling throughout the ecosystem.

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Please.

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Ensure that there's an

ad ID associated to it.

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Other times for partners like an NBC

Universal, they will make sure that

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there is an ad ID appended to every

ad creative that goes through their

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ecosystem if one does not come in.

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So we try to make sure that wherever

an ad creative is running through the

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system, it has an opportunity to get

an ad id if it doesn't have one already

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from either of those touch points.

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Laura: Gotcha.

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so you're working with both the brand

side and the client side as well as

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the the tactic side, for lack of a

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Nada: Yes, both the buy and the sell side.

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Absolutely.

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Laura: and how, how big are you,

like, as far as if I wanted to

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run on streaming television how

would that look to an advertiser?

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Nada: Yeah, absolutely.

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So, just a little bit about the

company and how big we are, and

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then everything that we touch.

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We are a small organization.

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We're less than 50 people.

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But as I mentioned, we, touch all of

the top advertisers, agencies, and

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publishers in the world, which is amazing.

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That also means that we are applicable to

every single platform that's out there.

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So one creative, as we know, could

be applicable to something that

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would run on a, regular network.

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On linear television, the same

ad could be utilized on CTV.

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So let's say like on Apple TV or on

Netflix, or Peacock, or Hulu, you name

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it, it's, it's still the same code

that goes through as well as audio or

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social media or the list goes on and on.

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And that really is the core

focus for us and where a brand

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marketer would see value.

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They are able to track that one individual

creative across all different kinds of

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platforms and really get to a true sense

of how am I spending, how am I investing?

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Is it being published in the

places that I need it to be placed?

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Right?

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Is that ad going where it should be going?

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Am I making sure that the publishers

are, are frequency capping appropriately?

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Because I don't want to.

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Inundate consumers with my message.

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we did a study a while ago that

actually if, if you show an ad too

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many times, Laura, believe it or not.

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Laura: fatigue.

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Nada: Yes.

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And people get upset and you

know what they say, I am no

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longer going to buy this.

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I am so sick if, if I see

that commercial one more time.

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Right.

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And how often have we all sat there, we're

watching something on the big screen.

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We're doing something on our phones

and you're getting like the same

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message and you're just like, I

just, I can't take it anymore.

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It needs

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to stop.

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Laura: So you feel, I mean, I

feel like as a digital media

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company, we, we have frequency

caps so that that doesn't happen.

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Is this something even above

and beyond that you're saying?

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Nada: Yeah, so This is

where it falls apart.

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If you are not utilizing a unique

ID going across the board, your

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frequency cap management will fall

apart because you don't know that it's.

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The same ad, right?

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So it, could be as simple as there's

no code associated to it, or different

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codes are being utilized by whoever

uploaded it into a system, and

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therefore you're inundating somebody.

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And it all comes back to I only

have a certain amount of, of dollars

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that I can invest for marketing.

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I want to make sure that I'm using

them in the best way possible.

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That means that I don't want

to oversaturate, but I also

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don't want to unders saturate.

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It has to be the sweet spot.

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Unless the publisher is engaging

and making sure that they are

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utilizing an ad ID code to help with

that frequency management problem.

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it just, it doesn't work and

it's ultimately, it's ad waste.

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I mean, you know, it contributes to all

those billions of people keep talking

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about billions of dollars of ad waste.

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It's because people don't

know what's going on.

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And wouldn't it be great if, instead

of us saying, I need more money.

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In order to make my brand perform

better, or, you know, I, I

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need a new marketing campaign.

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Sure, it could be those things, but why

not just start to take action against what

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you have in front of you today and make

sure that you're using your money wisely?

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And I think all of us would love

to, to take advantage of that.

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And part of that is making sure

that, you know, you're, following

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the standards that are in place.

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Lisa: Many digital platforms encourage

dynamic ad placements where they might

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adjust the format or the like, landscape

versus vertical for a video, for example.

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What are the recommendations or

best practices around ad ID and

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possibly dynamic placements?

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Would they be considered

the same video in that case?

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Nada: Lisa, it's so

interesting that you ask that.

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So people are trying to figure

out what are we gonna do here?

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Right?

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And what happens with versioning and lisa

might like to see a red background and

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Laura might like to see a blue background.

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And because Lisa and Laura live on

different coasts and they're looking

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at an ad for an automobile, the call to

action at the end is going to be different

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'cause you'll get directed to one

dealership and Laura would get directed

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to another dealership and nobody has

landed on what they feel is appropriate.

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We do have some publishers that feel that

there is a need for different tagging,

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for each different advertising creative.

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And it will just continue to become

more and more complicated because of ai.

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And it's so quick and easy to do that.

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But then you do have some

publishers that are saying, you

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know what, it's one investment.

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So if I am working with a GM as

an example, and they are coming

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out with a campaign, and it's only

going to be the call to action

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that's different at the end.

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That investment doesn't change for them.

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It will still be the same investment.

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So I'm only interested in

understanding the full parameters.

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So we are flexible at this point in time

until the industry comes to terms on.

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There needs to be versioning or there

doesn't, we can enable versioning.

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So it could be at, and I'm gonna simplify

this by a lot, but at ID code B 25.

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Or it could be ADD ID code B 25

dash A through Z, depending on how

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many different versions you have.

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We're accommodating the system until

somebody takes a stand and says, this

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is the standard of what it needs to be.

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But nobody's decided on that yet.

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And I think it's because it's so

fluid and people have different needs

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Lisa: Absolutely.

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Yeah.

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Nada: it's, I mean, it's a great point

in, if we think about AI and, and

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what's happening in this space, we're

doing a lot of work right now with C

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two pa, which is content provenance.

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I don't know if you're familiar

with it, but all of the largest

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tech companies are behind it.

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There is a need to be able not only

to understand versioning, but to

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understand, are these ads even real?

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Right?

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So how can I make sure that I'm not?

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Consuming some ads that are fraudulent

or that I know that they have

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been changed or tampered with or

where, where they're coming from.

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So as we start to talk about an

AD ID code and how it helps brand

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marketers, it just starts to open up

all of these other opportunities and

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how we can make sure that we are.

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Understanding the provenance,

understanding that something is

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real, that it's not fraud, that I'm

being able to track where it's going,

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where is my investment happening?

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Am I getting the return on the backend?

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So for a very simple concept that was

created over 20 years ago, just literally

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to make sure that something ran at

NBC at 7:00 PM is now in the middle of

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making sure we untangle this crazy web of

tech that's, that's consumed all of us.

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Lisa: Before you were with Adid, you

were with Nielsen which is a very s.

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Different concept, but similar in

the idea of analyzing advertising and

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effectiveness and that kind of thing.

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What have you seen change over the years

between these two different companies

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and just in the industry in general?

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Nada: Yeah.

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The reason that I came over to Adid

is because of my time at Nielsen, and

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what I came to realize that people

were moving away from measuring content

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to measuring creative ads because

that's where the money is, right?

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The content is there to pull people

in, but what pays the bills is all

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of the advertising that's running

through all of the different platforms.

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And the focus really has started to turn

on how do I know that I am getting my

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investment back for those creatives that

I'm pushing through on those publishers.

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And what I came to realize is that.

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You can't do accurate measurement no

matter how loudly somebody wants to

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scream at any of these measurement

companies, Nielsen included, of we

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have accurate cross platform, cross

media measurement, you really cannot

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unless you're utilizing a unique id.

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And I liken it to what I think has been

universally accepted within our industry.

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That you need accurate person level data

in order to consolidate it to householding

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level, in order to consolidate it

into a view of a market in order to

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understand what is happening with content.

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You need the same thing for

creatives, and unless you know that.

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An ad that ran for Pamper diapers

on Peacock is the same ad that ran

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on Apple tv, is the same brand that

ran on the Visio landing pages.

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I'm trying to figure out what

I'm gonna watch is the same

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ad that ran on someplace else.

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You are not counting accurately

and whatever you're reporting

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is going to be inaccurate.

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And so that really was you

know, was the aha moment for me.

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I came to a certain point in

my career where I, thought.

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I need to make an impact.

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And unless, I go forward with the

knowledge base that I have for my time

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at Nielsen, both on the measurement

side, on media as well as on CPG I

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don't know who, you know, who's gonna

be willing to take up that task.

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And I think it's just so important

and we have been doing quite a bit of

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great work recently at the I-A-B-A-L-M

conference earlier this year.

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We stood up and held hands with Paramount

and NBC, universal and, group M and we

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talked about, Hey look, this is what's

going on and unless people realize

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you need to have accurate measurement

and you need to utilize the industry

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standard ad ID code, you are not

going to have accurate measurement.

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Truly won't know what's going on.

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So it's just, it's been really

exciting to be able to transfer

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that one knowledge set to a new one.

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that touches everything across

the board within the ecosystem.

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Laura: Now, we were talking about the

big change of this being required that

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people are required to do this now,

if they're hiring union talent, we

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started off talking about what does

someone have to know before doing this?

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But basically it sounds like we would

just reach out and say Hey, this is what

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I'm trying to do, or maybe the union

actually brings you through that and,

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and helps you kind of navigate that.

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Nada: Yeah.

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So, we are very excited that the

new contract with SAG AFTRA is

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requiring the use of AD ID codes for

any creatives that utilize talent.

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We have been educating the marketplace on

this encouraging people to understand what

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the rules and regulations are, and also

helping them to understand that unless

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they follow that requirement, talent

may not be getting paid appropriately.

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And, that's just really critical, right?

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Everybody should get paid fairly.

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Everybody should get compensated for

the work that they're doing and for

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all of the eyeballs that are on these

creative ads that are out there.

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That being said.

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There is no process today

that validates right there.

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There's nothing that happens

at a publisher that says, oh my

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gosh, we have Angelina Jolie in

an ad, and let's make sure that

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there's an ad ID code associated.

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There's nothing that does that today.

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So it's on an honor system.

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We are working on ways you know, we

do have validation UIs that people could

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plug back into and, and validate a code

and validate the metadata, et cetera.

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But there is no stopgap process to

say they abided by it or they didn't.

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So something that we're working

towards an honor system to

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start, and we'll go from there.

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But look, everything needs to be, we feel.

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Fair and appropriate for

everybody who participates in

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creating advertising creatives.

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And there's a lot that goes on behind

the scenes to to turn all those

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advertising investments that happen,

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Laura: I know that having worked

with union talent quite a bit in

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the past you know, I've been through

that honor system and we knew

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it for broadcast, but we didn't.

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Transfer it over to you know,

our DSP, for example, and we're

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running on programmatic videos.

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And so this is, definitely gonna

be a eye-opener for those people

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that are not using a unique id.

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Nada: Absolutely Laura.

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And you know what?

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You would be surprised.

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There are people that will go out of

their way to make up an ID instead

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of just using our UI to create one.

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I'm like, oh my gosh, you

are spending so much time.

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Like, what?

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Why are you faking your homework?

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Just click a button and it's done.

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Just make sure that it's done.

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But we're working closely

with the industry now.

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The IAB Tech lab has implemented

what is called a i, so it's the

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ad Creative Identity Framework.

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Ad ID is the is the industry

standard of record for North America.

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For that, there is a way to

validate and make sure that we go.

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So we're hoping that all of these

steps, right, we're trying to angle

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it from every possible way that

we are gearing folks towards just.

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Click the easy button and get it done.

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There's no need,

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Laura: easy as we possibly can.

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this is a good thing.

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It's an opportunity,

like it's, it's all good.

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: 00:18:30

Nada: Exactly.

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: 00:18:30

Exactly.

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There's, yeah, there's truly no downfall.

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And it makes everything work smoother and

easier and more efficient and ultimately.

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Saves money and hopefully,

you know, affords folks the

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: 00:18:42

opportunity to make money, right.

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To get, consumers to buy their product.

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So it's, it's an exciting time for us.

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: 00:18:49

Especially.

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: 00:18:50

I know you just, you mentioned

DSPs and, and all of the stuff

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: 00:18:53

that happens in the digital space.

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: 00:18:55

We recently did a study.

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Which looked at what happens

with consumer ads, where are they

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: 00:19:00

being most influential, right?

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: 00:19:02

What kind of platform, and I know

everybody understands that traditional TV

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: 00:19:07

is, declining and other things are coming

up, but how quickly is that working?

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: 00:19:11

And what we're seeing is that 68% find.

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: 00:19:14

Traditional television to be very

impactful in their decision making

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: 00:19:18

for their consumer purchases.

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: 00:19:19

But right behind it, in the sixties, we're

at 64% for streaming and 63% for social.

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That is amazing, right?

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: 00:19:27

and you start to think about all of

those new dollars that are coming in

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: 00:19:30

people's wallets and young adults,

and they're mostly influenced by

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social media to no surprise, but.

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Same process that has been

implemented for linear is the exact

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same process across all of these.

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: 00:19:42

And now we could just

start to track better.

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: 00:19:44

And oftentimes I think that the

CPMs are a lot lower, right?

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: 00:19:48

It's, sometimes a lot more efficient to

reach folks on these other new types of

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platforms than it is on traditional media.

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: 00:19:54

So it's, it's an exciting time.

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: 00:19:57

Laura: I think, you know, social

proof is such a powerful just

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: 00:20:01

the most powerful, honestly, like

as far as changing behaviors.

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: 00:20:04

And, so with an influencer,

how does that get.

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: 00:20:09

Tracked in the same way, like a social

influencer who's gonna talk about you on

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: 00:20:14

Nada: Yeah.

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: 00:20:15

So, that is our, our new focus.

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: 00:20:17

for the remainder of this year

and into next, we need to get

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: 00:20:21

them on board the same way that we

did with Talent within SAG aftra.

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: 00:20:25

They truly are talent, right?

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: 00:20:26

And they need to get

compensated appropriately.

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: 00:20:29

They aren't creating what we

consider traditional creatives.

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: 00:20:32

So we are on a mission to make sure

that they get access to everything that

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: 00:20:36

everybody else does, because guess what?

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: 00:20:38

They're also responsible

for billions and billions of

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: 00:20:41

Laura: right.

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: 00:20:42

right.

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: 00:20:43

They're held accountable

just like everybody else.

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: 00:20:45

And I know that, 'cause I've worked

with them and it's like, well they

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: 00:20:48

kind of have to tell you a lot like

of what they're doing where they,

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: 00:20:52

you know where they're distributing.

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: 00:20:54

Nada: Yeah.

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: 00:20:55

And they probably are not getting

compensated appropriately.

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: 00:20:58

They're in a new, space, right?

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: 00:21:00

So things are just, they're

starting from the ground up.

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: 00:21:03

They're gaining all of these followers.

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: 00:21:05

They have so much influence, but

we wanna make sure that they also

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: 00:21:08

understand how the process works

and where the system's going.

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: 00:21:11

And you know, there's, folks that

I follow and I often wonder, are

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: 00:21:14

they aware of the impact that

they're having in the industry?

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: 00:21:17

And that there is a way for

them to be able to track their

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: 00:21:20

value and in what they're

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: 00:21:22

Laura: yes.

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: 00:21:23

Yes.

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: 00:21:24

That is cool.

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: 00:21:25

That is super cool.

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: 00:21:26

That is great news.

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: 00:21:27

Nada: Yeah, so it's exciting

for us, and, and we think it's,

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: 00:21:30

a really great time for it too.

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: 00:21:32

Lisa: Well, this has been wonderful, nata.

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: 00:21:34

Thank you so much for joining

us for this conversation.

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Before we let you go, we

do have one final question.

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If you could go back in time and give

yourself at the beginning of your career

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: 00:21:44

one piece of advice, what would it be?

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: 00:21:46

Nada: raise your hand for everything,

whether you know how to do it or not.

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: 00:21:50

You'll learn it eventually.

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: 00:21:51

Lisa: Mm-hmm.

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: 00:21:52

Nada: Yeah, absolutely.

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: 00:21:53

This has been great.

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: 00:21:54

Thank you so much.

406

: 00:21:55

Lisa: Oh, thank you.

407

: 00:21:56

Laura: Thank you.

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