Advertising Age Brings You the Best Super Bowl Ads of All Time

With hundreds of channels, Hulu, Netflix, Xbox, tablets and smartphones, people have more access to more great content than ever before. What makes it even more amazing is that once a year 110 million of us sit down and watch the same thing — together.

That’s the Super Bowl, and that’s a big reason that the big game remains big business for advertisers. This year 30 seconds of Super Bowl time will cost advertisers $4 million. And that’s just the time. They’ll spend millions more to create their spots, promote them on the web and build marketing strategies around them that last long after the game is over. 

Here at Advertising Age, we talk about ads all year long. But this is the one time of year everyone talks about them. Indeed, the ads are part of the Super Bowl experience, and since this big audience comes just once a year, advertisers know they have just one chance to get it right. One chance to entertain YOU. 

Volkswagen: ‘The Force’ 

Samsung: ‘Next Big Thing’

Budweiser: ‘Brotherhood’

Coca Cola: ‘Security Cameras’

Ram Trucks: ‘Farmer’

Tide: ‘Miracle Stain’

 

To keep track of who’s buying what in the Super Bowl this year, check out our handy tracker and follow along for all our coverage of the business behind the Big Game

 


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  • No symbols such as registered marks, copyrights, etc.
  • If symbols are required, they will be presented in standard text such as" Brand (TM)".

Stress mark should be marked with [capitals] to indicate the primary stressed syllable, as in: news・pa・per [NOOZ-pey-per] in・for・ma・tion [in-fer-MEY-shuhn]

On living room, mobile, and tablet devices, the color gradient overlay is dynamic and will change based on the cover story art. It is not something we can control on our end.

If the tagline/date messaging doesn’t fit within the 11 syllables max, it can be included as text.

On living room, mobile, and tablet devices, the color gradient overlay is dynamic and will change based on the cover story art. It is not something we can control on our end.

Q: When is letterboxing allowed and not allowed?

A: When the native aspect ratio is 1.78:1 or 1.33:1 throughout the entire program, there should not be any letterboxing (black bars on top and bottom), nor should there be any pillarboxing (black bars on either side). We should should see an active picture take up the full frame. If the aspect ratio is wider than 1.78:1, such as 2.35:1, matting on the top and bottom is permissible. Additionally, if there is a creative choice to add matting or if there is a mix of native aspect ratios, this is usually waived, but please reach out to your Hulu representative to confirm.

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Q: Should the bitrate be constant if delivering ProRes codec?
A: No, since ProRes codec is built to be variable, this is waived.

Q: Can you accept bitrate higher than 30 Mbps?
A: Yes, we can accept bitrate beyond the recommended range for H.264 and ProRes. In the case of ProRes, bitrate will often exceed 30 Mbps due to its variable setting.

Q: What does native frame rate mean?

A: Native frame rate refers to the frame rate the source footage was shot. Whenever possible, we require all videos to be delivered in their native frame rate. This means that no frame rate conversion should be performed, which includes adding 3:2 pulldown for broadcast.

Q: Why do you ask for progressive?

A: The Hulu player, unlike traditional broadcast, does not play back interlace scan, so we require that all videos be delivered with their scan type set to progressive. If your video is natively interlaced, you must de-interlace it to progressive and you must employ a de-interlace filter that does not result in blending or ghosting artifacts. We recommend an auto-adaptive de-interlace if available.

Q: Why do you prefer PCM codec?

A: PCM codec is lossless audio quality, so whenever possible, please deliver PCM audio.

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