Fernandez didn’t break out specifics, but said, “We’ve seen an above-average CTR thus far in the campaign through both Triplelift and other media partners that are using (our) custom units.”
Messer said Demand Media data shows a 25% lift in user engagement with the cinemagraph format compared to static images – which trades in the same standardized inventory and at the same rate.
“I think it speaks to the latent demand,” said Lewine. “And the opportunity to scale interesting formats or ideas from social media.” He went on to explain that though Facebook has scale, it’s only one site.
Messer also said that platforms like Facebook, Twitter and Instagram have done most of the work blazing new ad tech trails (autoplay video, anyone?), but don’t deserve all the credit. He pointed to things like The New York Times’ “Snowfall” project and Apple’s parallax, which creates slight depth and motion on a smartphone screen, as crucial steps.
One drawback to widespread adoption is the effort involved to create cinemagraphs, though the process has become more standardized from a couple years ago, when it could take up to a week to make a single image. Canon has spent months on creative production and whittling audience segments for select images.
If the brand or agency has the cinemagraph, TripleLift and publishers can distribute it easily, but it’s not as simple as shortening a video or animating an image.
So cinemagraphs won’t suddenly be coming out of the woodwork, but “for the right advertiser,” said Messer, ”putting in the resources to create them adds up to an experience that (people) enjoy and that makes publishers look good.”