Creative Management is the New Campaign Management

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11

Rick Grunewald (Digital Marketing Analyst at PerBlue - Mobile Games Studio) shares the studio's campaign management, structure and challenges and Bidalgo presents how their tooling help tackle most of these challenges.

Type:
Webinar
Publication date:
July 18, 2020
Added to Growth Gems on:
July 26, 2020
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1

PerBlue starts with a CBO campaign where they can run different types of audiences and different types of ad sets (example: worldwide CBO campaign with 1 broad, 1 LAL and 1 custom audience). It gives you a better idea of how creatives are performing and what Facebook considers being a performing creative.

09:28
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2

Setting up specific creative dashboard in the Bidalgo platform for their creative team: they can look at any time which characteristics perform better.

12:28
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3

A challenge of switching to a creative-centric approach is producing more creatives. Anything you can change with your current creatives can help to feed platforms with iterated creatives, including testing multiple thumbnails and ad copy variations. Make as many changes as you can.

13:30
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4

If you find a really high-performing creative you want to make sure you're giving it as much runway as possible. You need to keep a good balance between what's performing well and testing new creatives.

15:08
💎 #
5

Pull out specific trends that are really being called out in your creatives and align them with specific players in your app. This way you can use your own "best practices" for future creatives. Example: showing hero characters for RPG games. They use the labelling tool and creative tab of Bidalgo for that.

16:50
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6

To identify creative fatigue you can: 1 sort creatives by spend % to see if a top-spending creative is actually not the best performer or identify a high-performing creative that could be used more (e.g. on new channels).

22:39
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7

An "overtime graph" is a trend analysis of a specific creative that helps you find the early signals of creative fatigue. You can look at different metrics (e.g. D7 ROAS, IPM, etc.) to see when a gap is forming vs. spend (due to retargeting the same users for example).

23:35
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8

It's not only between the UA team and creative team but also with the monetization and product team. You can align some of the concepts in the creatives into some of the concepts in monetization. Example: if a user comes in on a creative with a certain character, you can implement it on the monetization side by making that character more visible.

34:41
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9

Most of PerBlue's performance is coming from campaigns that are more expensive (AEO/VO) so you can't necessarily test with these. So they start with a campaign structure that is more cost-effective which for them is MAI campaigns to draw some conclusions. They don't see ROAS from these campaigns but get good creative insights. If you run these "broad", CPIs will be even lower. Another option is running LAL campaigns.

37:14
💎 #
10

An MAI audience is going to be very different from a high value audience. If you're showing a creative to the latter you want to make sure it is optimized.

41:05
💎 #
11

To cross-test audience and creatives, try to take a given audience and break down different ad sets based on characteristics of the ads (could be by creative type, dimension, creative concepts, different characters, etc.). Using CBO, you can split test ad sets and see which ad groupings work the best with that given audience.

@Post-webinar
This is premium content. Upgrade your plan in your profile to get access.
💎 #
1

PerBlue starts with a CBO campaign where they can run different types of audiences and different types of ad sets (example: worldwide CBO campaign with 1 broad, 1 LAL and 1 custom audience). It gives you a better idea of how creatives are performing and what Facebook considers being a performing creative.

09:28
💎 #
2

Setting up specific creative dashboard in the Bidalgo platform for their creative team: they can look at any time which characteristics perform better.

12:28
💎 #
3

A challenge of switching to a creative-centric approach is producing more creatives. Anything you can change with your current creatives can help to feed platforms with iterated creatives, including testing multiple thumbnails and ad copy variations. Make as many changes as you can.

13:30
💎 #
4

If you find a really high-performing creative you want to make sure you're giving it as much runway as possible. You need to keep a good balance between what's performing well and testing new creatives.

15:08
💎 #
5

Pull out specific trends that are really being called out in your creatives and align them with specific players in your app. This way you can use your own "best practices" for future creatives. Example: showing hero characters for RPG games. They use the labelling tool and creative tab of Bidalgo for that.

16:50
💎 #
6

To identify creative fatigue you can: 1 sort creatives by spend % to see if a top-spending creative is actually not the best performer or identify a high-performing creative that could be used more (e.g. on new channels).

22:39
💎 #
7

An "overtime graph" is a trend analysis of a specific creative that helps you find the early signals of creative fatigue. You can look at different metrics (e.g. D7 ROAS, IPM, etc.) to see when a gap is forming vs. spend (due to retargeting the same users for example).

23:35
💎 #
8

It's not only between the UA team and creative team but also with the monetization and product team. You can align some of the concepts in the creatives into some of the concepts in monetization. Example: if a user comes in on a creative with a certain character, you can implement it on the monetization side by making that character more visible.

34:41
💎 #
9

Most of PerBlue's performance is coming from campaigns that are more expensive (AEO/VO) so you can't necessarily test with these. So they start with a campaign structure that is more cost-effective which for them is MAI campaigns to draw some conclusions. They don't see ROAS from these campaigns but get good creative insights. If you run these "broad", CPIs will be even lower. Another option is running LAL campaigns.

37:14
💎 #
10

An MAI audience is going to be very different from a high value audience. If you're showing a creative to the latter you want to make sure it is optimized.

41:05
💎 #
11

To cross-test audience and creatives, try to take a given audience and break down different ad sets based on characteristics of the ads (could be by creative type, dimension, creative concepts, different characters, etc.). Using CBO, you can split test ad sets and see which ad groupings work the best with that given audience.

@Post-webinar
This content is available to Growth Gems premium members only.
Apply Now
💎 #
1

PerBlue starts with a CBO campaign where they can run different types of audiences and different types of ad sets (example: worldwide CBO campaign with 1 broad, 1 LAL and 1 custom audience). It gives you a better idea of how creatives are performing and what Facebook considers being a performing creative.

09:28
💎 #
2

Setting up specific creative dashboard in the Bidalgo platform for their creative team: they can look at any time which characteristics perform better.

12:28
💎 #
3

A challenge of switching to a creative-centric approach is producing more creatives. Anything you can change with your current creatives can help to feed platforms with iterated creatives, including testing multiple thumbnails and ad copy variations. Make as many changes as you can.

13:30
💎 #
4

If you find a really high-performing creative you want to make sure you're giving it as much runway as possible. You need to keep a good balance between what's performing well and testing new creatives.

15:08
💎 #
5

Pull out specific trends that are really being called out in your creatives and align them with specific players in your app. This way you can use your own "best practices" for future creatives. Example: showing hero characters for RPG games. They use the labelling tool and creative tab of Bidalgo for that.

16:50
💎 #
6

To identify creative fatigue you can: 1 sort creatives by spend % to see if a top-spending creative is actually not the best performer or identify a high-performing creative that could be used more (e.g. on new channels).

22:39
💎 #
7

An "overtime graph" is a trend analysis of a specific creative that helps you find the early signals of creative fatigue. You can look at different metrics (e.g. D7 ROAS, IPM, etc.) to see when a gap is forming vs. spend (due to retargeting the same users for example).

23:35
💎 #
8

It's not only between the UA team and creative team but also with the monetization and product team. You can align some of the concepts in the creatives into some of the concepts in monetization. Example: if a user comes in on a creative with a certain character, you can implement it on the monetization side by making that character more visible.

34:41
💎 #
9

Most of PerBlue's performance is coming from campaigns that are more expensive (AEO/VO) so you can't necessarily test with these. So they start with a campaign structure that is more cost-effective which for them is MAI campaigns to draw some conclusions. They don't see ROAS from these campaigns but get good creative insights. If you run these "broad", CPIs will be even lower. Another option is running LAL campaigns.

37:14
💎 #
10

An MAI audience is going to be very different from a high value audience. If you're showing a creative to the latter you want to make sure it is optimized.

41:05
💎 #
11

To cross-test audience and creatives, try to take a given audience and break down different ad sets based on characteristics of the ads (could be by creative type, dimension, creative concepts, different characters, etc.). Using CBO, you can split test ad sets and see which ad groupings work the best with that given audience.

@Post-webinar
This is premium content. Upgrade your plan in your profile to get access.
This content is available to Growth Gems premium members only.
Apply Now
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