Tech
Q&A: How Vox Media’s branded content studio is working to integrate its podcast ad capabilities post-merger
Three months after Vox Media and Group Nine’s branded content studios merged, the newly combined Vox Creative is using its different podcast ad formats to integrate audio advertising into advertisers’ campaigns or to upsell advertisers already in the space, according to svp Yosef Johnson and executive producer of audio Annu Subramanian.
Vox Creative offers three main podcast ad types: one- to five-minute-long custom branded segments, custom series sponsorships (where advertisers buy all the ad breaks across a selection of episodes) and standalone podcasts, where advertisers work with Vox Creative’s podcast team to create and promote a branded show for the Vox Media Podcast Network.
“We have each of these tools in our kit so we can point them to an opportunity to up-level, or a different thing that they haven’t seen before within the toolkit. A brand that may have had success with video before is now saying, ‘We’ll come back and do video and we’ll try audio as well.’ So not only are we up-leveling our native audio clients, but we’re also getting yield from across Vox Creative,” Subramanian said.
Vox Creative has worked with around 300 advertisers in custom audio ads in the last year, and 70% of those brands have spent across multiple podcasts, according to Johnson. A Vox Media spokesperson declined to share how this compares to the year prior. The Vox Media Podcast Network has over 200 shows. The team that works on branded audio has doubled in size in the last year. There’s been “little overlap” between Group Nine and Vox Media’s “key” advertisers, according to Johnson. Before the merger, Group Nine predominantly worked with CPG and retail advertisers, while Vox Media worked with advertisers in the tech, media, entertainment and financial services categories, he said.
After speaking with Johnson and Subramanian, Digiday conducted a follow-up interview with Johnson to discuss how the two studios have been combined in the merger. His answers are reflected below.
This conversation has been edited and condensed.
How were Group Nine and Vox Media’s creative studios brought together after the merger closed in February, and what did each team bring to the table?
Both of our studios were very complementary in terms of our offerings. The Group Nine Brand Shop side was heavily focused on distribution across social channels, from an editorial and branded content standpoint. We worked with advertisers to really take advantage of that scale that Group Nine had across social. With that came expertise across the different platforms, whether that be Facebook, Instagram and increasingly TikTok and Snap. Social know-how was definitely a focal point on the Group Nine side.
On the Vox side, the team certainly worked on social campaigns, but the Vox Creative team was molded in the fashion of Vox at large, which is premium storytelling and utility-driven content. With that came the Explainer Studio, which is drafted off of the Explainer franchise, and brought out to advertisers in a form-fitting way — as well as branded documentaries. We recently had one that premiered on HBO Max. We’re currently in production on a number of documentaries. Audio is another huge capability that the Vox Creative team had, tapping into the Vox Media Podcast Network.
So when I say complementary, I would say Group Nine was playing heavily at one end of the spectrum and Vox was playing similarly at the other end. We’re doing branded TikToks and branded documentaries and everything in between.
Is the team coming from Group Nine Brand Shop focused on the Group Nine brands, or are they creating branded content across the Vox Media portfolio now?
We are mixing it up. The whole point is to learn from each other, from what’s been successful on our networks from the respective companies. We are definitely cross-pollinating right now. And I think that’s really what we’re so excited about. We’re just bringing the content expertise from our respective companies and getting everyone trained and learning. A lot of the skills are transferable, too. We have folks who may be from production but are really well-versed in audio, who can now work on the podcast team and can help bring fresh ideas to that team and vice versa.
You mentioned the focus now is to bring the strengths from the Vox side to Group Nine brands, and vice versa. Can you explain how Vox Creative pitches these integrated campaigns?
We are thinking about ways that our campaigns can span different creative formats. It’s very common that we’ll have a campaign that has custom video, written elements and social elements. Similarly, there have been campaigns that have audio as well as a hub experience as well as distribution promotion through media units. What we’re really looking forward to is bringing those elements together, particularly with audio as a focus. For something like a custom podcast, is there also a custom video component that accompanies that with bite-sized social elements to promote it and standalone pieces of content that live on social? As we look to integrated campaigns now with the full breadth of the Vox Creative offering that we bring together between Group Nine and Vox — there’s just a ton more opportunity for audio to sit as the hero but then be supported by other content formats. That’s something we’re actively working on and talking about.
We see advertisers that start on the audio side, and maybe they start with a daily ad and then that moves to maybe a custom segment, maybe it moves to a fully blown custom series. And then from there, you venture into a video or social. A lot of it maps back to our teams having been separate companies and the advertisers that they were talking to in those respective seats, which knew Group Nine for one thing and Vox for a set of things. And so everyone on our team is now having exciting conversations to say: “Hey, remember how you did all that stuff with us last year? We’re still going to do more of that but by the way. Let me show you this custom podcast we just did for Mattress Firm, and this feels spot on for what you were talking about for your strategy for holiday,” for example.
According to some reporting I’ve done, it seems like publishers are pitching longer-form podcast ads to advertisers. Are you pitching branded podcasts more than other podcast ad formats?
It’s not an either-or. We are definitely pitching them. We love our custom podcasts and you can do really compelling work as we’ve seen with a number of the custom series we’ve done. But we are always keeping the focus on what’s the right format for the advertiser and starting there. Daily ads make up a significant portion of our audio business. Advertisers see a ton of opportunity there. To do a custom podcast obviously requires a different level of time and investment and those make sense for a set of advertisers and specific opportunities and then the daily ads make a ton of sense for a whole host of advertisers looking to take advantage of the Vox Media Podcast Network.
Tech
Nvidia GeForce RTX 3090 vs. AMD Radeon 6950 XT: Which GPU should you buy?
The AMD Radeon RX 6900 XT has been an interesting GPU this generation. It’s both cheaper than the competing Nvidia GeForce RTX 3090—and sometimes faster, too. It’s now been refreshed with the RX 6950 XT, a late entrant into the tumultuous GPU market. Nvidia has also done its part with the GeForce RTX 3090 Ti, which brings impressive performance, albeit with a high cost and power draw at 450W TDP.
With the original RTX 3090 price recently decreasing slightly, it makes for an interesting comparison against the newer AMD RX 6950 XT. The RTX 3090 Ti offers more performance, but is significantly outside of the price bracket of the RX 6950 XT. Is this AMD refresh enough to push performance for AMD ahead of Nvidia, even in the murky waters of ray tracing? More importantly, does it move the needle for high-end gamers enough for them to switch their allegiance from Nvidia to AMD? Let’s find out!
Sapphire RX 6950XT
Brad Chacos
Nvidia RTX 3090 vs. AMD 6950XT: Price
Relax. You can easily find both GPUs in stock now at most retailers, and generally at close to MSRP. The GPU market has experienced a significant downturn during the last several months, with prices quickly dropping from their stratospheric levels.
The AMD RX 6950XT comes in at a $1,099 MSRP for the reference model, and some third-party models range from $1,199 to $1,299. A modest bump from the $999 6900XT pricing—but it does not mean they’re a great deal. With the declining GPU market and murmurs of the next-generation GPUs coming out this year, it has significantly dampened demand and enthusiasm for this level of GPU.
The Nvidia RTX 3090 has also experienced much lower demand, resulting in quickly falling pricing. While you’re still unlikely to find a $1,499 Founders Edition at MSRP, most models such as those from the EVGA RTX 3090 lineup have experienced a significant price drop, coming in as low as $1,609 for the Black series. (The 3090 Ti debuted at $1,999, a big increase over the RTX 3090—and it’s already being discounted at many retailers, too)
The pricing on the used market is even lower, however, with RTX 3090s dipping close to the $1,200 mark in many cases.
Neither model is a great price-to-performance choice this late into the release cycle, however. Most high-end gamers who don’t have a top-tier GPU will likely be best served by waiting for the next generation this year.
The AMD RX 6950 XT is the latest to test its mettle against Nvidia.
Thiago Trevisan
Nvidia RTX 3090 vs. AMD 6950XT: Performance
AMD certainly threw in a surprising performance with the original 6900 XT—it was able to match or beat the RTX 3090 in certain games and scenarios. Has the RX 6950 XT finally crossed the Rubicon in all performance areas? Not quite. When it comes to ray tracing performance, the RTX 3090 is still out ahead. (Check out Brad Chacos’ review for a deeper dive on the new AMD refreshes.)
Thiago Trevisan
In games such as Watch Dogs Legion with traditional rasterization, we can see the AMD RX 6950 XT performing as well or better than the RTX 3090 (especially at lower resolutions). This trend continues in other games such as Horizon Zero Dawn, where it’s able to keep up with the RTX 3090. Game after game, both GPUs trade blows and are highly competitive with each other.
Both GPUs have party tricks up their sleeves for performance, too. AMD has Smart Access Memory that can boost performance when coupled with a Ryzen CPU, along with Radeon Super Resolution. This will give it significant boosts in many games, besting the RTX 3090 in some cases, as shown below in Horizon Zero Dawn. Nvidia also has DLSS technology that does wonders for keeping graphical fidelity and high frames simultaneously—which is a gamer changer when paired with ray tracing.
Thiago Trevisan
What happens when we introduce ray tracing? That’s where Nvidia’s RTX 3090 still holds an advantage over AMD. The 6950 XT does not have upgraded ray tracing hardware when compared to the 6900 XT, keeping it behind the Nvidia RTX GPUs in this case.
It can be argued that there are diminishing returns for ray tracing visuals and performance, with varying results. The technology puts insane strain on performance, lowering frame rates significantly until you claw some back with the help of an upscaling technology like DLSS or AMD’s FSR. The visual impact doesn’t always make losing that performance worthwhile, either. But when it comes to the “halo” GPUs like these, ray tracing can be part of the reason you get a high-end GPU in the first place; you want to turn all the eye candy up to Ultra, including ray tracing. Paired with Nvidia’s DLSS, the performance penalty can be mitigated, and the visuals enjoyed fully.
This is one big advantage of the RTX 3090 versus the newer 6950 XT—maximum performance and visuals matter when you’re spending way over $1,000 for a GPU. AMD’s ray tracing hardware is a generation behind Nvidia’s implementation, while its DLSS rival, FSR 2.0, is great but still in its infancy, with only a handful of games supporting the fledgling technology at this point. That means ray tracing is best experienced at 1440p resolution on the 6950 XT, while you can usually crank ray traced games even at 4K on the 3090. If you’re not interested in ray tracing however, the 6950 XT is a mighty fine choice for significantly less cost.
Let’s not forget that the RTX 3090 is certainly better geared towards content creation and other workstation use cases, as well. With a whopping 24GB of GDDR6x VRAM, it will handily beat the 16GB RX 6950 XT in most content creation tasks. The 3080 Ti would be a more reasonable competitor to the 6950 XT in this case as a pure gaming solution.
Nvidia RTX 3090 vs. AMD 6950 XT: Power and other things to know
The RTX 3090 packs a TDP of 350W, with many third-party models eclipsing 400W. The RX 6950 XT comes in a 335W TDP, which is reasonable for the performance that it puts out. Remember, the 3090 Ti is already up to 450W TDP—so next-generation offerings will likely go up significantly in requirements.
You’ll want a minimum of a 750W power supply for both, but we’d recommend you up that even higher for future proofing—as high-quality power supplies tend to last a long time.
You’ll need a case with good airflow for both these options, and better clearance than lesser GPUs require. (They’re often wrapped in a nice, thick, beefy air coolers to keep their temperatures in check.)
Which is the better option for water cooling? We’d argue that the RTX 3090 is, since it likely will have a wider range of water blocks available on the market. Plus, with its steaming-hot VRAM, it often benefits more from taking a deep swim versus the typically cooler RX 6950 XT.
So, is the 6950 XT enough to best the RTX 3090?
The 6950 XT is a slightly more powerful addition to the high-end AMD lineup, putting up an impressive performance versus the RTX 3090. It’s simple: If you’re playing at higher resolutions and want to use ray tracing, Nvidia still holds an advantage here. DLSS and the Nvidia encoders are also great technologies that serve people well.
If you’re after pure frame rate goodness—without as much ray tracing, the 6950 XT can be often a much better choice than the RTX 3090, especially in sub-4K resolutions. AMD offers great technologies such as FSR, Smart Access Memory to really up the performance too.
So, who wins? Unfortunately, the 6950 XT comes in too late in the release cycle to be relevant in the rapidly declining GPU market, making it an expensive option. The aging RTX 3090 is a similar story. Its high price was never a very good option for purely gaming—making better use for hybrid content creators/gamers instead. The RTX 3090 Ti is an even worse value proposition this late into the story, making it only relevant for a few high-end enthusiasts who don’t mind the price tag.
3090 Ti: The symbol for diminishing returns in an ever changing market. Beautiful, but flawed!
IDG
The verdict: This is a good ole’ fashioned standstill. We’d wait out the market a few months as both will experience even steeper declines in price with the introduction of the next generation. Otherwise, if you really must have one now, the decision will come down to ray tracing preference and resolution you’re playing at. Both GPUs will give you good, all-around performance for years to come—but neither are a great choice right now as the GPU market is rapidly changing this year.
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Tech
Receive near instant feedback on logos, images, text, and more with Helpfull
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You might find Helpfull particularly valuable if you’re an app developer or work in QA. QA Specialist Karla Q writes, “Helpfull is a great service to use if you need feedback in real time. In a very interactive and fun way that makes you excited to view the results.”
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Tech
Confessions of an in-house creative strategist on feeling unfulfilled, difficulty in returning to agencies as the ‘pay is less’
The war for talent between agencies and brands’ in-house agencies has cooled. Even so, for adland talent who’ve made the move in-house, some say they are looking to go back to agencies after feeling creatively stifled. It’s not the easiest strategy to execute.
In the latest edition of our Confessions series, in which we trade anonymity for candor, we hear from an in-house creative strategist about their experience, why they want to go agency-side now and how pay is keeping them from doing so.
This conversation has been lightly edited and condensed for clarity.
What’s the in-house experience like?
I’ve been in-house for about a year. It’s very one-sided. The difference between agency and in-house is that with agencies, there [are] a lot of opinions and ideas [outside of the brand message] that go into creative. With in-house, you have the brand’s message and all creative is reflective of the brand’s message. With in-house, regardless of trends in the market, it’s a lot of ‘we’re going to stick to this one way of doing things’ mentality. It’s a lot of opinions about what the creative should be based on what it has been before. It makes it hard to introduce something fresh. It makes it hard to hire or be a new hire. If you’re not actually going to adhere to advice from new hires, what’s the point in getting new people? Are you just bringing people on board for a second opinion? That’s what it feels like.
Sounds like you don’t have the creative control you desire.
It feels like more of a second opinion role than to get something to manage or control. [Where I am now] it feels like we’re leaning more into what [our strategy] used to be than thinking about what we could be. That’s a big issue with in-house. With agencies, like I said, there’s a lot more trial and error. With in-house, a lot more of this is what we’re doing, these are the funds we have and this is what has worked in the past. In reality, a lot of what worked in the past, when you put it back into the market, it’s not going to work anymore.
Why do you think it’s more challenging to get to a new creative strategy in-house?
With agencies, you have multiple perspectives. You’re working on multiple brands. You can see something working for another brand and talk to your client about it. You can pivot. You have the background and perspective to [pitch that pivot]. When you’re in-house, you only have the knowledge of your brand and what’s working for you.
Are you looking to go back to agencies?
Personally, I am looking to go from in-house to agency but I get paid a lot more being in-house than what I’ve been offered at agencies. I’ve been in interviews with agencies where they’re telling me that I’ll be learning [programs I already know how to use] so that’s why the pay is less than what it should be. There are agencies I’ve interviewed with who ask me to move to New York for less than what I make now and make that work. [With inflation,] there’s no reason why salaries aren’t also increasing.
So you’d like to make the jump creatively but it’s hard when the compensation isn’t up to what in-house offers?
It’s hard. I’ve been lowballed, too. They’ll post a salary for a position, go through the interviews and then offer less than what’s listed on the salary description. What was the point of putting the salary range there? I feel like people are putting salary ranges on job descriptions just to attract people with the experience that they are looking for but by the time they make the offer, it’s not what they said it would be. It’s offensive.
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