1
DON’T
GIVE
CLIENTS
WHAT
THEY
WANT.
Give them what they
never dreamt possible.
Cross-Site Integrated Marketing
and Partnerships
DIGITAL
¨
KIDS & FAMILY
Process Workflow Guide
August 2007
3
::overview
Our number one advertising objective of the Nickelodeon Kids and Family
Digital Network, is to create breakthrough interactive advertising
opportunities for our clients. From high-impact, strategically-targeted
media campaigns to turn-key, fully-integrated custom promotions, we are
poised to offer our clients the reach, the targeting and the returns that only
the world’s leading kids and family destination can deliver.
The following process documentation, will help our various team members
create effective digital advertising solutions. After receiving valuable input
from Ad Sales, Marketing, Editorial, Standards, Technology and Advertising
Operations, this process documentation was crafted to arm our
departments with step-by-step instructions for EFFICIENTLY creating
sponsorships and custom programs – from the receiving the RFP, all the
way to reporting on the success metrics from a completed program.
4
::table of contents
I. CONCEPTION PROCESS: Working with Marketing for proposal concepts
A.
B.
C.
D.
RFP Submission Guidelines
Proposal Presentations
Client Review and Negotiations
Preparing to Execute the Insertion Order
II. PRODUCTION PROCESS: Working with Marketing to execute programs
A.
B.
C.
D.
E.
Submitting the Insertion Order
Kick-Off Call
Production Schedules and Asset Collection
Submitting Creative Rounds for Client Review
Launching the Program
III. METRICS REPORTING: Working with Marketing for program reporting
A. Tracking Campaign Performance
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5
::conception process
I. Working with Marketing for Proposal Concepts
The conception phase involves working with your team of Marketing Managers to
transform a client’s request for proposal into an agreed upon promotional program
•
•
•
Communicating client’s objectives to your Marketing Manager
Marketing Manager brainstorming creative solutions
Marketing Manager preparing you to present ideas to the client
A. RFP Submission Guidelines:
What information does the Marketing Manager need to get started?
B. Proposal Presentations:
How do I present the ideas to the client?
C. Client Review and Negotiations:
How should I keep the Marketing Manager involved during negotiations?
D. Preparing to Execute the Insertion Order:
What should I keep in mind as the client prepares to sign the IO?
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6
::RFP submission
“I just got a sweet RFP
from a client I have
been after for nearly
two years! Who do I
work with to get a kickass promotional
concept?”
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7
::minimum media commitment
Each site in the network, requires a minimum media
commitment in order for the client to receive a custom
promotion.
A. $350K minimum (Nick.com, Nickjr.com,
GoCityKids.com, ParentsConnect.com)
B. $75K minimum (Neopets.com)
C. $75K minimum (Addictinggames.com,
Shockwave.com)
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8
::RFP submission
I. What do I do once I get an RFP that needs marketing concepts?
A. If the budget meets the minimum media commitment, e-mail the RFP with
“RFP: [CLIENT]” as the subject line to the primary marketing contact for the
desired site.
B. If the client’s budget is less than the minimum media commitment, the RFP
must include an approval e-mail from Nelson Boyce to begin any concepts
involving custom promotions.
C. Provide your Marketing Manager with the following details:
•
Background information on the client’s product/service
–
•
•
•
•
•
•
•
The more details you provide, the stronger the idea!
Client’s target audience
Desired sites
Client’s budget
Client’s campaign objectives
Client’s desired campaign dates or season
Preferred proposal format (idea bullet points, white slides, full deck, etc…)
RFP due date
D. Provide your Marketing Manager with as much time as possible to brainstorm
a creative concept.
•
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At least five (5) - ten (10) days is necessary
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9
::proposal presentations
I. How are the recommended concepts presented to the client?
A. The Marketing Manager will FIRST submit the proposal to Nick Standards
and/or Editorial (depending on the site) before presenting the ideas to you.
B. The Marketing Manager will then e-mail the proposal and any production
costs to you.
•
•
Review the details to make sure the concepts meet the client’s objectives.
Use the production costs and your Marketing Manager’s notes to help set the
client’s media investment and any production investment.
C. Make sure the proposal includes:
•
•
•
Required production times
IO/assets due date
Concept expiration date
D. Present the ideas on your own or invite your Marketing Manager to help
present the ideas to the client on a joint call.
•
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Depending on your Marketing Manager’s schedule, he/she may even be
available to travel to the client presentation with you if the situation warrants.
Just ask!
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10
::client negotiations
I. How should the Marketing Manager be involved during negotiations?
A. Keep your Marketing Manager engaged should the concepts need to
be massaged.
•
The Marketing Manager is to help with any changes to the concept so
he/she can make sure the ideas are still approved by Standards, Editorial
and Brand while meeting client objectives.
B. Update your Marketing Manager via e-mail or phone regarding the
client’s buying temperature, any objections or modified goals.
•
The weekly Digital Sales meeting is an additional forum for providing
quick updates on outstanding proposals.
C. If the client decides to pass on the proposal, offer your Marketing
Manager the client’s feedback.
•
HOME
This valuable step will help your Marketing Manager prepare future
proposals for our clients.
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11
::preparing for the IO
“The client LOVED the
idea! I’m getting close
to getting the signed IO.
What should I do now?”
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12
::preparing for the IO
I. What should I keep in mind as the client prepares to sign the IO?
A. As the client’s buying signals get stronger, keep your Marketing Manager in
the loop.
•
Your Marketing Manager will review:
–
–
Required production time
Due date for the executed IO to ensure on-time delivery
B. All custom programs require at least six (6) – twelve (12) weeks of
production.
C. Production begins when Marketing receives both a signed, detailed insertion
order AND all necessary assets.
D. Production time depends on many factors (complexity of the concept, current
bandwidth and/or contributions from other Nick departments) so you must
defer to your Marketing Manager BEFORE the IO is signed.
E. Work with your Marketing Manager to properly add client production costs to
the IO
•
•
HOME
Refer to the Pricing Template to include the necessary production costs to the IO
This documentation is ESSENTIAL to start the production process
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13
::production template
$1MM Media on the IO
$58K Production billed separately by Marketing
(Noted on IO)
14
::selling sponsorships
I. If you are selling a simple sponsorship (with or without custom
marketing), check in with your Marketing Manager to:
1.
2.
3.
HOME
Verify start and end dates of supersites
Verify inclusion of A-inits and content modules
Confirm the availability of any custom advertorial articles that need to be
created
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15
::production process
“After tons of work, the
door finally opened! I
cracked this client and
they signed the IO.
Let’s launch this thing!
HOME
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16
::production process
I. Working with Marketing to Launch the Program
The production phase involves working with your team of Producers
to develop a custom marketing campaign that meets and exceeds
the goals and expectations of the client. The steps involved in this
process are:
A. Submitting the Insertion Order
What details should the IO contain and how do I submit it?
B. Conducting the Kick-Off Call
Who should be invited, what’s the agenda and when should it be scheduled?
C. Production Schedules and Asset Collection
Who creates the production schedule and what does the client need to provide?
D. Submitting Creative Rounds for Client Review
What does each party need to do to help follow the schedule?
E. Launching the Program
What are the final details to know as we get set to launch?
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17
::submitting the IO
I. What details should the Insertion Order contain and how do I submit it?
Sales completes and emails the IO directly to the Senior Producer. Items that must
occur prior to forwarding the IO:
A. The IO has been reviewed and approved by the SSE.
- Inaccurate IOs can lead to confusion on the Producer’s part and can end up costing unnecessary time and possible
mistakes in production. If dates are are wrong, custom marketing placements won’t be set live or show-up online as planned.
NOTE: All Nick.com sponsorships start on Thursdays and end on Wednesdays.
All NickJr.com sponsorships start on Fridays and end on Thursdays. Starting Oct. 1, 2007, NickJr.com will begin
launching Wednesdays. So start dates should be Wednesday to Wednesday (this is a request from Editorial based on how the site
is published each week).
B. Media and custom marketing items are confirmed and specified properly—any phases need to be
outlined in detail in the IO.
- External notes are clear and placements make sense.
- Production dollars have been added as a line item.
C. IO is signed by the client and approved by Finance.
- This is especially important because making sure everything is in-place and approved by the client will make the
production process move much more smoothly. Click commands cannot be requested, nor can media be set live without an
approved IO.
D. The Senior Producer evaluates the resources necessary, assigns the IO to a Producer, making sure
to alert Sales and the Marketing Manager. This person will now be the lead contact for all
communication, production details and decisions.
NOTE: Producer needs to be alerted when an IO is revised and must have the most recent version sent to
them directly. The IO must always be accurate (start and end dates especially) in order for Traffic to
provide click-commands and serve properly.
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18
::IO examples
*
*
*Reminder: starting Oct. 1, all NickJr.com sponsorships start and end on Wednesdays.
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19
::the kick-off call
I. Who should be invited, what’s the agenda and when should
it be scheduled?
Kick-off calls are required when a program involves more than a
simple logo sponsorship. There are two calls:
A. Internal Call (Sales, Marketing Manager, Producer)
•
•
•
Discuss the scope of the project, including corresponding ad units
Confirm launch dates based on complexity of the program and minimum production
time needed
Items that need to be tracked
B. External Call (Client, Sales, Marketing Manager, Producer)
NOTE: This call is requested by the Producer but set-up by Sales
• Producer introduction
• Discuss details of the project (including final concepts, confirming the number of
rounds and number of days required for client review per round)
• Provide Assets deadline
• Outline next steps
• Reporting schedule is agreed upon
• The Producer will follow-up after the call with a summary via email.
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20
::production schedules
I. Who creates the production schedule and what does the client need to provide?
The Producer creates a schedule for the term of the project. The client provides all necessary assets. General
production timeline (after all assets are received):
A. 2 weeks
•
•
•
Simple logo sponsorships
Game of the Week preloaders and cobrands
Billboards
B. 4 weeks*
•
•
•
•
Content Modules/Marquee Units
Movie Madness/Flicks for Kids/Video Game Insider
Sponsor Game Spotlight/Sponsor Game Room
TurboNick Buzz Nicksclusives content
C. 6-12 weeks
•
•
•
General promotional pages/sites
Sweepstakes
Game reskins
D. 8-12 weeks
•
•
•
•
•
Video Production
Video mixers/mash-up
Complex promotional sites (i.e. sweepstakes, polls, games, video player, and/or video mixer)
Integrated programs (online, on-air, magazine)
New game creations
Some programs might need longer, depending upon what type of work is involved, but this will be determined at the time
the scope of the project is discussed. [Please refer to original marketing concept.]
Three rounds of review (standard) are built into the schedule. The schedule is then sent on to the client for approval, as well as
to ensure that all dates are followed to stay on track for launch.
*PLEASE NOTE: This is a new production timeline for projects that we have realized need more than the original requested
lead time.
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21
::reviewing each round
I. What does each party need to do to help follow the schedule?
The schedule outlines the rounds of review (three rounds are included for any
custom marketing program) and how many days there are for review by the
client, as well as the amount of time we have to incorporate revisions after
feedback is received. Review usually includes:
A. Client feedback (this could take up to 15 days, including their Legal review).
B. Internal review by Standards and sometimes NCR and Brand (could take up to 10
business days).
C. Producer compiles all revisions and make sure all changes are incorporated for next
round.
D. Sales will be copied on all communications during each round.
NOTE: If the client does not provide feedback by agreed upon dates, this could, and
most likely will, impact the launch date and Sales must update the IO. If more
than three rounds occur, this will impact launch date and there will be additional
fees charged to the client.
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22
::launching the program
I. What are the final details to know as we get set to launch?
A. Once the client gives approval on the final review round via email (this MUST be in
writing), files are either sent to tech/site producers to integrate, or sent to Traffic (custom
promotional ads only) to set live
B. Once the program is officially launched, the Producer will alert the client and Sales.
C. The Producer will provide, to the Sales Assistant, tracking or site information such:
•
•
•
•
Polls
E-cards sent
Game plays
Page views
All other tracking (click commands, sweeps entries, etc.) will come from either Sales or
the Marketing Manager.
D. Be familiar with the Producer, Marketing Manager and Ad Ops contact handling each
of your programs.
E. Questions involving straight media placements should be directed to Ad Ops. Questions
regarding custom content on a site should go to the appropriate Producer
assigned to the program. Online editorial questions should be directed to your
Marketing Manager.
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23
::metrics reporting
“I need to help the client
understand how
successful their
program was. Where
do I go for metrics
reporting?”
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24
::metrics reporting
I. Working with Marketing to Gather Success Metrics
Before and during the kick-off call, you should discuss the client’s
tracking needs and reporting expectations with both the Marketing
Manager and Producer. Most times, tracking tags will need to be
implemented into the design architecture of the program - BEFORE
LAUNCH - to effectively provide the client with reporting. During the
campaign, work with your Marketing Manager for any ways to optimize
the promotion.
A. Banner impressions and clicks
Ad Sales to get this from ad operations
B. Promotional site page views and unique visitors
Producer to get this from Omniture or Nick Research
C. Activity on promotional site elements (polls, e-cards sent, game plays, etc…)
Producer provides data from pre-inserted tracking tags (Omniture only…
not DART-created click commands based on schedule agreed to during the kick-off call)
D. Sweepstakes/Contest Stats
Marketing Coordinator provides data based on kick-off call schedule
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25
::we are MTVN Digital
MANY TEAM MEMBERS…
MANY RESPONSIBILITIES…
ONE MISSION:
To create breakthrough interactive advertising opportunities for our clients.
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26
::appendix
I. Role of the Marketing Manager:
–
–
–
–
–
–
Primary contact BEFORE the IO is signed
Prepares concepts for RFPs
Liaison with Standards, Editorial and Brand
Provides details to help you present ideas to clients
Sets production expectations before IO is signed
Helps optimize campaign, sweepstakes/contests and post mortems
II. Role of the Producer:
–
–
–
–
–
–
–
Primary contact AFTER the IO is signed
Leads client kick-off call and sets launch date
Prepares production schedule and asset list
Conducts creative reviews with client
Liaison with Editorial, Design and Tech
Launches all programs
Provides reporting on promotional site elements
•
HOME
Polls, e-cards sent, game plays, etc…
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27
::appendix
General Naming Conventions
Co-Branded Banners – media units that promote sponsored editorial content/applications that contain a “sponsored by‘ logo
Promotional Banners – client–branded media units that promote a promotional site or advergame
Content Modules/Marquee Units – ad-marked units that contain a client logo and copy that are relevant to the theme of a
section of the site, vary in size depending upon the site and are integrated into the contents of that page
Promotional Site – a behind-the-banner mini-site that promotes a advertiser’s product/service
Mini-site/Supersite – an editorial section that is created for specific events/holidays/tentpoles
Banner Sizes – Leaderboard (728x90), Skyscraper (120/160x600), Rectangle (300x250), Hub Rectangle—Nick.com only
(240x400), Earpiece (200x90)
Nick.com Naming Conventions
New Game of the Week Sponsorship
Homepage Flash A-init NGOTW logo sponsorship
NGOTW :05 Pre-loader
Fixed 120x60 Logo sponsorship on NGOTW hub & play page
Co-branded banners – optional placement
Video Game Insider Content Sponsorship
Content sponsorship in VGI section
Icon on VGI homepage
Co-branded banners – optional placement
Movie Madness Content Sponsorship
Content sponsorship in Movie Madness section
Icon on MM homepage
Co-branded banners – optional placement
Mini-site/Tentpole Content Sponsorship
Fixed 120x60 Logo sponsorship on Back To School site homepage (as an example)
B-init/Content Module on Naked Brothers Band Tentpole homepage (as an example) – optional placement
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28
::appendix
Nick.com Naming Conventions cont’d.
Sponsor Game Spotlight
Client provided game for Sponsor Game Spotlight
Game icon on NGOTW hub
Fixed 120x60 logo on SGS play page
Sponsor Game Room
Client provided game for Sponsor Game Room area
A-init on the Sponsor Game Room Hub
Fixed b-init on the Sponsor Game Room Hub
Fixed client media on the client game play page
Nickjr.com Naming Conventions
Hub/Content Sponsorships
Fixed billboard logo sponsorship on X page A-init (ex. Recipes or Toothcare)
Content module on X page (ex. Recipes or Toothcare) – optional placement
Homepage A-init fixed logo sponsorship throwing to X page (this isn’t always the case…A-init availability needs to be confirmed
before selling)
Activity Finder Sponsorships
Fixed billboard logo sponsorship on Activity Finder Main page A-init
Printables/Crafts/Ecards/Games Sponsorships
Fixed billboard logo sponsorship on Crafts main page A-init (Crafts as an example)
Fixed 88x31 logo sponsorship on Crafts Tab of Activity Finder on the Homepage. (Crafts as an example)
Content module on Crafts main page (Crafts as an example) – optional placement
Minisite Sponsorship
Fixed 120x60 logo sponsorship on Back To School site homepage A-init (BTS as an example)
Content module on BTS site homepage – optional placement
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29
::contacts
Ad Sales:
New York
Chicago
Los Angeles
Marketing:
Nick.com, Nickjr.com, GoCityKids.com, Nick@Nite.com, ParentsConnect.com
Neopets.com
Addictinggames.com, Shockwave.com
Advertising Operations:
New York
Nickelodeon Standards:
Linnette Attai
Jayme Goldwasser
Director
Manager
212.846.7762
212.846.3834
Editorial and Brand Marketing:
Your Marketing Manager is your liaison with Standards, Editorial and Brand
Design and Technology:
Your Producer is your liaison with Design and Technology
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SVP of Digital Sales
Executive Assistant to Kevin Arrix
212.846.4567
212.846.4577
Nelson Boyce
Kyria Batson
VP of Digital Sales
Executive Assistant to Nelson Boyce
212.258-8596
212-846-4587
Leo O’Conner
Kelly Guan
Keri Fox
Allan Infield
David Antonelli
Carrie Cochran
Bob Ephron
Constantine James
Stephen Loguidice
Lisa O’Hara
Lauren Thomas
Lindsay Restle
Julie Berger
Alex Humphreys
Jordana Mohammed
Jessica Palmer
Manager, Pricing & Inventory
East Coast Sales Director
Director, Integrated Marketing
Director
Account Executive
Account Executive
Account Executive
Account Executive
Sales Services Executive
Sales Services Executive
Sales Services Executive
Sales Services Executive
Sales Assistant
Sales Assistant
Sales Assistant
Sales Assistant
212.846.7557
212.846.7632
312.321.4564
212-846-4268
212.846.8672
212.846.4982
212.846.3009
212.846.3423
212.846.5929
212.846.8784
212.846.5164
212.846.4868
212.846.4149
212.846.4610
212-846-6973
212-846-3262
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::ad sales – new york
::new york
Kevin Arrix
Paula Grant
CONTACTS
Pat DePirro
Midwest Sales Director
312.836.0707
Katelyn Kroneman
Peggy Thielen
Sheila Gibbons
Amy Svireff
Molly Gallagher
Jessica Zuhlke
Hannah Baggus
Penny Little
Andrea Pardonnet
Account Executive
Account Executive
Sales Services Executive
Sales Services Executive
Sales Services Executive
Sales Assistant
Sales Assistant
Sales Assistant
Sales Assistant
312.836.0652
248.336.7230
312.321.4562
248.336.7229
312.836.0716
312.321.8609
312.321.8613
248.336.7218
248.336.7224
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::ad sales – chicago & detroit
::chicago and detroit
31
CONTACTS
Karim Mawji
West Coast Sales Director
310.752.8232
Lisa Saksons
Amanda Victor-West
Caitlyn Fantauzzi
Hye Young Park-Tarin
Karen Levy (TEMP)
Leslie Poyatos
Judy Chan
Ally Lee
Account Executive
Account Executive
Account Executive
Sales Services Executive
Sales Services Executive
Sales Services Executive
Sales Assistant
Sales Assistant
310.752.8054
310.752.8249
310.752.8592
310.752.8524
310.752.8189
818.551.7514
310.752.8354
310.752.8520
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::ad sales – los angeles
::los angeles
32
CONTACTS
33
Vice President
Exec. Assistant to Jen Tracy
212.846.3431
212.846.3509
Marketing Director
Marketing Manager
Marketing Manager
Marketing Manager
Marketing Coordinator
212.846.8320
212.846.4622
212.846.3327
212.846.5976
212.846.8187
Sr. Producer
Producer
Producer
Producer
Producer
212.846.3852
212.258.6641
212.846.4158
212.846.5624
212.846.3769
Sr. Designer
212.846.8069
Marketing:
André Macklin
Peter Colot
Allison Neslage
Nicole Greene
Daniel Partelow
::Marketing
Jen Tracy
Carlton Walton
Production:
April McKenzie
Tony Beste
Antonia McCullough
Chirag Thakkar
Kate Sweeney
Design:
Micheline Hess
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34
VP Marketing & Operations
818.551.7543
Moira Delaney
Marianne Offermans
Lora Kurtenbach
Director, Promo Marketing
Marketing Manager
Marketing Manager
818.551.7581
818.551.7544
818.551.7545
James Morphew
Director, Graphic Design
818.551.7500
Chris Davis
Christina Ohanian
VP, Sales
Sales Assistant
818-551-7542
818-551-7534
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::Marketing
Stefanie Schwartz
CONTACTS
35
Nicole Fortner
National Sales Director
415.503.2420
Marketing:
Liz Beatus
Senior Marketing Manager
Georgia Seto
Marketing Manager
Christopher Acosta Marketing Manager
415.503.2403
415.503.2424
415.503.2438
Delivery/Project Management:
Tammie Presser
Director of Delivery
Jillian Cussin
Senior Delivery Analyst
415.503.2584
415.503.2495
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::Marketing
Sales:
CONTACTS
36
HOME
Kids & Family Supervisor
Campaign Coordinator
Campaign Coordinator
Campaign Coordinator
Campaign Coordinator
Business Technology
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212.846.4551
212.846.5709
212.846.7933
212.846.6156
212.846.3418
212.846.3460
::ad operations
New York Office:
Cara Alwill
Brie Manakul
Jorge Amador
Liron Ohar
Damion Chijindu
Elisa Francovilla
CONTACTS
37
::notes
Where else can I access this process document?
– On the Shared Drive
Mktg_shared on Exeter
Online (folder)
Promotions Marketing (sub-folder)
process (sub-folder)
–
HOME
On the Web
mtvn-process.com
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