Connected TV — Selected Work

Your brief casts a wide net — adults 25 and over leaning male, cinephiles and general entertainment fans, and sports fans. Connected TV reaches them on the television set, full screen, with nothing to skip. There are two ways to get there.

By Program

Placements inside named programs on premium streaming services, chosen for the audience already watching them. For this film that points at HBO Max, where the spot runs within Mad Men, The Pitt, The Gilded Age and six further titles — an adult, prestige audience that sits naturally alongside a New York caper.

You know every program the spot can appear in before it runs, and there is no other targeting layered on top.

By Audience

The alternative follows households rather than programs: viewers of film and sports content who also rent or buy films at home, reached across Hulu, Disney+, Peacock, Paramount+, Max and others.

Wider reach across more services, with delivery following the audience instead of a fixed program list, at two to three exposures per household.

Either runs as a :15 or :30, full screen and non-skippable, nationally. Reporting comes back as impressions, frequency, completion rate, cost per completed view, and delivery by network. All we would need from Sony is a finished spot and the destination link.

Abramorama

National Theatrical Release Campaign · 2026

Never Stop Chasing

A storm-chasing documentary opening across 110 theaters in 30 states. The campaign targeted audiences around the participating theaters, with Connected TV and online video delivering full-screen, non-skippable spots.

When the film held over in four cities, the buy was re-pointed at the theaters continuing to play it.

28.1MImpressions, All Digital Channels

959,131Completed Connected TV Views

96.6%CTV Impressions Ending in a Completed View

Impressions are the total across all digital channels, not Connected TV alone. Figures are the campaign’s own platform reporting across both flights.

Connected TV · The Cut That Ran

:30 · 16x9

Connected TV · What Came Back

Non-skippable and full screen, so a view either completes or it does not. Across both flights, almost nothing was lost between the impression and the finished view.

993,082Impressions

972,553Video Starts

959,131Completed Views

96.6% of impressions ended in a completed view, and 98.6% of the views that started ran to the end.

Ad-attributed visits to the film’s site, by day

Ad-attributed visits were concentrated during the flight and fell away sharply once it ended — 1,541 on August 22, then 59 on August 23. These are visits attributed to prior ad exposure within the reporting window. They do not establish incremental traffic or ticket sales.

Attributed visits are visits to the film’s site credited to prior Connected TV or display exposure within a thirty-day window; no click is required. Source is the campaign’s own platform reporting, and every one of the 25 reporting days carries an observation.

Channel Mix · The Main Flight

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Channel	Impressions	CTR	The Job
Connected TV	—	—	790,600 completed views at 98.9%. Non-skippable, so there is no click to report
YouTube	478,400	0.69%	135,100 qualified views at a 28.2% view rate, and the strongest click rate in the campaign
Display	26,500,000	0.07%	Breadth around the theater footprint — 95% of the flight’s impressions

Display carried almost all of the impression volume and Connected TV carried the viewing. Click-through rate is calculated on click-eligible channels only — Connected TV reports no meaningful click, so its impressions stay out of that denominator rather than flattering the rate.

This table covers the main August 10–23 flight, which is how the channel report breaks delivery out. It totals 27.8 million impressions; the holdover flight that followed brings the campaign to the 28.1 million shown above. Connected TV impressions are not broken out per flight in that report, so the completed-view figure is given instead.

Full recap available on request →

Bad Hat Harry Productions

Washington DC Theatrical Campaign · 2026

Monument

A feature based on a true story, opening at two theaters in the Washington DC market: one in the District and one in Fairfax, Virginia. Audience targeting drew on affinity for historical and political drama, international affairs and foreign-policy coverage, and issue-driven and arthouse cinema.

The buy ran continuously for four weeks, beginning with priority markets and tightening around the two confirmed theaters. Engagement remained concentrated within the Washington DC DMA, consistent with the campaign’s local theatrical focus.

Each platform had a defined role and was measured against it. The campaign also revealed a clear older audience skew, giving us a more useful picture of whom the film was reaching.

1.48MImpressions, All Digital Channels

165,448Connected TV Impressions

98.63%Connected TV Completion

233,139Video Views, All Digital

Monument — Jon Voight and Joe Mazzello, film poster

The Creative That Ran on Connected TV

:15 Prestige Review · 16x9 — 98.37% completion

:30 Vision · 16x9 — 98.43% completion

Connected TV · What Came Back

Non-skippable and full screen, so a view either completes or it does not. Almost nothing was lost between the impression and the finished view.

165,448Impressions

164,933Video Starts

162,681Completed Views

98.3% of impressions ended in a completed view, and 98.63% of the views that started ran to the end.

The Cuts in Rotation

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Cut	Impressions	Completed	Completion
:15 Vision	36,875	36,390	99.22%
:15 Prestige	36,850	36,226	98.70%
:15 Prestige Review	32,473	31,913	98.37%
:30 Prestige	29,688	29,124	98.32%
:30 Vision	29,562	29,028	98.43%

Five cuts ran, in two creative approaches and at two lengths — three at :15 and two at :30. Completion held between 98.32% and 99.22%, so the headline rate is not one strong cut carrying four weak ones. The two :30s completed at essentially the same rate as the :15s, which is the useful finding: on this inventory, the longer spot was not paying a delivery penalty for the extra fifteen seconds.

Delivery concentrated where the film was playing. Virginia led on impression volume, then Maryland and the District of Columbia, with West Virginia behind them — the shape you would expect from two theaters, one in DC and one in Fairfax.

Source is the campaign’s own Connected TV platform reporting for the April 17–May 14 flight. Cut names are shortened from the delivered file names. Per-cut impressions sum to the impression total above.

Channel Mix · What Each One Was For

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Channel	Impressions	CTR	The Job
Connected TV	165,448	—	Awareness. 98.63% completion — full message delivery
YouTube	526,980	3.15%	Reach at scale, the largest impression share in the mix
Facebook	139,048	8.48%	Engagement. The highest click volume on the campaign
Instagram	73,183	2.30%	Engagement, at a 30.66% engagement rate
Display	580,172	0.44%	Lower funnel. 2,359 attributed conversions

Connected TV has no click column because the spot is not clickable — it is bought to be watched, and its delivery is broken out above. The remaining four were judged on the job each was given rather than on a blended rate.

Channel figures are the campaign’s own digital reporting for the four-week flight, and sum to the 1.48 million shown above.

Full recap available on request →

Contact

Email

kevin@silbermannmediagroup.com

Location

Brooklyn, New York
Working nationally

Connected TV for The Only Living Pickpocket in New York.

Never Stop Chasing

Monument