The report draws on the company’s proprietary data and analysis of historical audience trends to provide advertisers with insights into how Singaporean fans are likely to engage with the tournament across different platforms.

According to the findings, interest in football in Singapore remains strong, but viewing habits are becoming increasingly fragmented across devices and times of day. Nexxen noted that this mirrors similar trends identified in reports it released earlier in the United States and the United Kingdom.

The report indicates that engagement with the tournament is expected to remain high throughout its duration, with 87% of viewers saying they will continue watching even if their preferred team is eliminated.

It also points to a continued shift towards streaming. Viewing via over-the-top (OTT) platforms and connected TV (CTV) has increased by 27% since the 2022 tournament, suggesting that digital and streaming environments are playing a larger role in sports consumption.

Viewing patterns are also expected to vary depending on the time of day. Mobile phones and laptops are projected to dominate during work hours, accounting for 53% of viewing, while television remains the primary screen during evenings (84%) and weekends (85%).

Taken together, the findings suggest that while football continues to deliver broad reach in Singapore, advertisers may need to plan across multiple screens to effectively reach audiences during the tournament.

Nexxen said advertisers can activate these insights through its unified advertising platform, which integrates its supply-side platform (SSP), demand-side platform (DSP), and the Nexxen Data platform. The company also highlighted its programmatic access to Nexxen TV Home Screen, which enables brands to appear in native Smart TV units during content discovery moments before or after matches.

The report combines data from Nexxen Discovery, the company’s proprietary planning and insights tool that tracks audience behaviour across screens, with historical viewing data and consumer surveys of more than 1,000 adults in Singapore who intend to watch the tournament.

The post Streaming and varied viewing times to shape Singapore’s 2026 FIFA World Cup audiences: report appeared first on MARKETECH APAC.

myTV SUPER reaches 2.7 million monthly active users, with strong penetration among family households and high-income consumers. This scale and engagement make the platform a key channel for brand storytelling in the home viewing environment.

“This partnership with Teads will create synergies to connect premium brands to premium audiences. We look forward to delivering elevated value to both our audiences and advertisers through this collaboration,” said Benjamin Li, controller (marketing & product development) at TVB & myTV SUPER. 

Under the partnership, Teads will serve as the exclusive reseller of the CTV Homescreen Canvas placement, covering both video and display formats. The company will also gain non-exclusive access to in-stream video inventory, creating additional opportunities for scalable premium media activation.

By integrating the Homescreen—the first touchpoint in the viewing journey—into its omnichannel platform, Teads allows advertisers to reach co-viewing audiences during high-attention moments in the living room.

Sam Pattison, managing director at Teads APAC, said, “At Teads we see the Homescreen as one of the best opportunities to engage premium audiences with best-in-class creative executions. This exciting partnership combines Teads’ creative capabilities with the power and scale of myTV Super, and provides exciting new opportunities to brands in Hong Kong.” 

“Partnering with myTV SUPER, one of Asia’s most successful local OTT platforms with over ten million registered users, marks a major step in expanding Teads’ premium CTV footprint. By exclusively monetising their homescreen inventory, we are bringing brands the ability to reach viewers at the most powerful entry point of the TV experience,” added Simon Klein, SVP of commercial strategy for CTV at Teads 

The post Teads partners with myTV SUPER to offer exclusive CTV homescreen inventory in HK appeared first on MARKETECH APAC.

For advertisers, this obviously creates a massive opportunity to reach engaged viewers, but it also introduces a persistent challenge: measuring who you’re actually reaching and which touchpoints drive results. The numbers tell an interesting story about where this is heading.

A recent study conducted by Nexxen on Navigating the Future of OTT marketing in Singapore identified that Southeast Asia’s advertising landscape continues to experience interesting changes, driven by substantial OTT and Connected TV adoption.

In fact, in Singapore alone, OTT video users are projected to reach 4.5 million by 2029, with user penetration expected to rise from 68.3% in 2025 to 72.8% by 2029. This data suggests a meaningful shift in how audiences consume content and engage with the ads they see while enjoying it.

The expansion of ad-supported streaming has accelerated this change. Our survey suggested that some 60% of viewers identify cost as a key factor in their platform choices, and as a result, ad-supported content has become quite attractive.

The engagement levels support this trend: 51% of viewers watch ad-supported content multiple times a week, while 35% watch daily. For advertisers, this marks a great opportunity to reach viewers, but it also introduces complexity that traditional measurement methods struggle to address.

The multi-screen reality

While Southeast Asia remains mobile-first, the big screen is growing alongside it. In Singapore, 77% of viewers stream on mobile devices, but 64% also use smart TVs, making it the second most preferred platform.

Computers follow at 51%, with tablets at 42%. This multi-screen consumption pattern means audiences move fluidly between devices throughout the day, watching the same content across different screens or engaging with different platforms depending on context. This fragmentation creates a fundamental measurement challenge. Each touchpoint generates data, but connecting those data points to understand actual reach and attribution has proven difficult. Traditional impression-based metrics, built for a simpler media environment, tell advertisers how many times an ad was served but not how many unique people actually saw it.

In households where multiple family members watch TV together, impression counts can understate true reach as co-viewing isn’t taken into account. 10,000 impressions might come from just a few thousand individuals encountering the ad on CTV – assuming they watch TV on their own – leading to deflated audience estimates when viewed purely through impression-based metrics.

Without considering co-viewing, budget allocation decisions rest on deflated numbers that don’t reflect actual audience exposure and ultimately devalues CTV investments.

The attribution challenge compounds this issue. Even when advertisers know their ads are being delivered, understanding which touchpoints drive action remains unclear. When someone visits a website after exposure to a CTV ad, mobile display campaign and audio spot, determining which channel or combination of channels influenced that action becomes guesswork without proper cross-channel attribution.

What accurate measurement enables

The impact of improved measurement extends beyond fixing data inaccuracies. It changes what advertisers can achieve with their campaigns and how effectively they can allocate resources.

OTT advertising already demonstrates its effectiveness when measured properly. In Singapore, 36% of viewers research a product online after watching an ad, while 33% visit the brand’s website. These actions represent tangible outcomes, but connecting them to specific media exposures requires measurement capabilities that track across channels and devices.

True Reach measurement addresses the undercounting problem by attributing ad exposure with co-viewership, rather than device-level impressions. When advertisers can determine that a campaign reached 500,000 people, compared to just 300,000 when co-viewing isn’t considered, they gain a more accurate cost per reach, a clearer view of true audience penetration and the ability to determine the real value CTV is driving.

This matters particularly in markets with high ad-supported streaming engagement, where repeated exposure should reflect the true reach of individuals within households, not just accumulated impressions.

Cross-channel attribution solves the second challenge by connecting ad exposure to measurable outcomes. By tracking when someone sees an ad across television, digital, audio or out-of-home and linking that exposure to subsequent actions like website visits, advertisers can identify which touchpoints actually drive engagement. This visibility enables budget shifts towards channels and devices that deliver results, rather than distributing spend based on assumptions about contribution.

The combination of accurate reach measurement and attribution creates a complete view of campaign effectiveness. Advertisers can quantify how many people they’re reaching, understand which media investments drive outcomes, and optimise accordingly. In Southeast Asia’s mobile-first, multi-screen landscape, where audiences engage frequently with ad-supported content across various platforms, this level of precision becomes essential for competitive advantage.

Preparing for continued growth

As OTT and CTV consumption continues expanding across the region, measurement complexity will increase rather than diminish. More platforms, more devices and more sophisticated audience behaviours will widen the gap between impression-based metrics and actual business outcomes.

The industry requires measurement solutions built for this environment, not retrofitted from methods designed for different markets or older media landscapes. Solutions must account for regional viewing patterns, household structures and the specific ways audiences move between screens. They need to work with locally calibrated data that reflects actual consumption behaviours rather than relying on aggregated estimates or third-party proxies.

For advertisers, access to this level of measurement changes the proposition. Instead of navigating the region’s complexity with limited visibility, they gain the insights needed to make informed decisions about reach, attribution and optimisation. For the industry, it establishes what accurate, actionable measurement should deliver as the market continues developing.

The growth in ad-supported streaming, the expansion of smart TV adoption alongside mobile dominance, and the increasing sophistication of audience behaviours all point towards continued change. The measurement challenge is solvable, but it requires capabilities specifically designed for how people in this region actually watch, engage with and respond to advertising across their screens.

This article is written by Amresh Kumar, Director of Sales, Southeast Asia at Nexxen.

The post Why Southeast Asia’s advertising growth demands better measurement appeared first on MARKETECH APAC.

According to a report by Indonesian national news agency Antara, LSF Chairman Naswardi said the regulation is being initiated under the Ministry of Culture as part of the upcoming Cultural Omnibus Law, which integrates the Film Law, the Cultural Advancement Law, and the Cultural Heritage Law into a more structured and comprehensive framework.

First announced in 2024 by Minister of Culture Fadli Zon, the Cultural Omnibus Law is intended to streamline regulations supporting education, art, and cultural preservation.

Naswardi explained the rationale for regulating OTT platforms, highlighting the lack of a proper filtration system compared to traditional media.

“Currently, OTT has no mechanism for curating and filtering film content, and downstream oversight is also lacking. So, there’s no balance between filtering in cinemas, TV, and OTT. OTT has been relaxed, but cinemas and TV are being tightened,” Naswardi told ANTARA on Tuesday (September 16). 

He added that the move reflects public demand. A 2024 LSF survey indicated that viewers want OTT content filtered to ensure it reaches the appropriate audience.

“So, there has been public input, particularly through research conducted by the LSF. The public, through surveys, wants OTT video-on-demand platforms to be curated or filtered, and one of the suggestions is through censorship,” he said.

Currently, Law Number 33 of 2009 requires films shown in cinemas and on television to undergo censorship but does not explicitly cover OTT streaming services. This regulatory gap means content on streaming platforms is not consistently classified or filtered according to public expectations.

The push for OTT regulation comes as platforms like Netflix, YouTube, Disney+, Viu, WeTV, and Vidio continue to expand rapidly in Indonesia.

Similar efforts are also underway in the Philippines, where the Senate recently approved a bill expanding the mandate of the Movie and Television Review and Classification Board (MTRCB) to include streaming platforms. The bill empowers the MTRCB to regulate digital content to address issues such as obscenity, immorality, and excessive violence.

The post Indonesian government eyes new censorship framework for streaming platforms appeared first on MARKETECH APAC.

The new feature, powered by Shopee, allows viewers to purchase products directly from the screen they’re watching.

The initiative is designed to offer a contextual and seamless shopping experience, enabling users to instantly buy products relevant to the content they are viewing. It also highlights Vidio’s broader push to support businesses and strengthen its position in Indonesia’s evolving digital ecosystem.

Starting today, Vidio users can discover product offers integrated into select content, including marquee titles such as the Premier League, Asmara Gen Z, and various Vidio Original Series. Products—such as beauty items—can be viewed and purchased through Shopee without exiting the stream.

Mutia Nandika, chief revenue officer at PT Surya Citra Media, Tbk., said, “For Vidio, this is the next evolution of digital advertising. We are committed to delivering solutions that let brands integrate naturally into content—so they can reach audiences at the most meaningful moments while they enjoy their favourite shows.” 

“We are excited to partner with Shopee—Indonesia and Southeast Asia’s leading e‑commerce platform—through Vidio Shopping, which expands our synergy,” Mutia added.

This launch marks an early step toward more personalised and context-driven shopping features, with future updates expected to align product recommendations with users’ interests and viewing habits. 

According to Vidio, by combining entertainment with e-commerce, it aims to open up a “powerful new path to naturally and relevantly convert viewers into buyers.” 

Monica Vionna, senior director of marketing growth at Shopee Indonesia, commented, “Shopee is pleased to collaborate on Vidio’s innovative program, which smartly turns the most engaging moments in a show into a relevant and seamless shopping experience. We believe this collaboration can help sellers on our platform connect with even more prospective buyers through Vidio’s compelling content. Going forward, it will drive growth and sales uplift for MSMEs and local brands.”

Currently in its trial phase, Vidio Shopping has onboarded 15 participating brands, including Wondermist, FFAR, Majika, Wardah, Emina, Kahf, Make Over, Samsung, Somethinc, Amaterasun, Hint, Nivea, Eiger, Colorbox, and The Executives.

The trial officially began on 25 July 2025. Viewers can access tagged products via an on-screen banner or cart icon, which links to an external Shopee page for quick checkout—aligning with shifting consumer habits in digital media consumption and online shopping.

Louis Boswell, chief executive officer at Asia Video Industry Association (AVIA), said, “We applaud Vidio for pioneering a new frontier where premium local OTT content meets regional e‑commerce at scale. This collaboration with Shopee shows how Southeast Asia can lead with its playbook—innovating beyond imported models to create real value for audiences, brands, and the wider ecosystem.”

The post Vidio partners with Shopee to launch ‘Vidio Shopping’, integrating shoppable content into streaming appeared first on MARKETECH APAC.

As part of its innovation strategy, Cignal TV is harnessing Quickplay’s cloud-native, open-architecture OTT platform to elevate its Cignal Play service through the launch of the Cignal Play TV Android set-top box.

The new device serves as an all-in-one entertainment hub, combining various tiers of Cignal TV’s live and on-demand content with pre-installed apps like Pilipinas Live, Netflix, Disney+, HBO Go, VIU, and Lionsgate. These services are also accessible regardless of the user’s broadband provider, ensuring a seamless and diverse entertainment experience for users.

Gerard L. Milan, first vice president and chief revenue officer for Cignal TV, said, “Cignal TV is committed to delivering content that our customers love across the various platforms and screens that they use, combining our vast library with that of leading streaming apps.”

“The versatility and flexibility of the Quickplay platform have enabled us to expedite the integration of new services and availability of our content on Android devices. This will serve as the foundation for further content, product, and business model offerings in the future,” added Milan. 

Paul Pastor, chief business officer and co-founder of Quickplay, said, “Strategies that make a wide variety of content available on subscriber-owned devices are essential to MVPD’s continued ownership of the living room. Cignal TV is using the power of our cloud-native platform and its existing content relationships to launch game-changing Android STB services that will enhance their competitive position in the Philippines and address the needs of its Filipino community.”

Cignal TV’s transition to the Quickplay platform in 2022 brought significant improvements, including enhanced streaming performance, streamlined content management, and a user experience that quickly earned praise on Google Play. A year later, the same platform powered the launch of Pilipinas Live, a sports service aimed at Filipino viewers globally.

Quickplay’s OTT platform supports service launches and telco migration strategies to IPTV, enabling scalable cloud applications with advanced technologies like containers and microservices. This technology stack offers superior performance, modular feature expansion, rapid iteration, and built-in scalability and security. Leading OTT providers and telcos, including sports giants MSG+ and YES, as well as Cignal TV in the Philippines, leverage Quickplay to deliver flexible and agile services that match or surpass broadcast reliability and performance.

The post Cignal TV expands content lineup on Android STBs with Quickplay platform appeared first on MARKETECH APAC.

Following the integration of the Amobee demand-side platform (DSP) into Tremor International’s end-to-end platform, the partnership between TCL FFALCON and Unruly grants advertisers leveraging Amobee direct access to TCL FFALCON’s ad units on premium CTV/OTT inventory in the TCL Channel, which includes popular entertainment, movies on-demand and live channels. 

“Connected TV has become an integral part of the media landscape across APAC, particularly Australia. The rapid adoption of Broadcast Video-on-Demand (BVOD) and FAST channels is providing more opportunities for advertisers to reach fragmented audiences,” said Adam Hunt, vice president, partnerships and business development at Amobee. 

He added, “Amobee and Unruly’s partnership with TCL FFALCON helps bridge this gap, giving advertisers a unique opportunity to capitalise on this growing trend and deliver highly targeted and impactful campaigns that resonate with their audiences, ultimately driving better business outcomes.”

Kenneth Suh, chief strategy officer at Tremor International, also remarked, “As audiences diversify their viewing habits – and, in some ways, become increasingly difficult to reach – we are pleased to be partnering with TCL FFALCON to help advertisers tap into these viewers at scale.”

Suh further added that the partnership will strengthen the company’s capacity to provide clients with advanced targeting and high-impact creative executions on TV.

“TCL FFALCON is committed to delivering innovative TV solutions to our customers, and that’s exactly what this partnership was built to provide,” said Rebecca Wan, overseas business department leader at TCL FFALCON. 

Wan added, “By leveraging Unruly and Amobee’s technology and offerings, we are now able to bring a more personalised TV experience to viewers while also creating new, more powerful opportunities for leading brands and advertisers. It’s a win-win-win.”

The post Unruly partners with TCL FFALCON to expand premium TV inventory access globally appeared first on MARKETECH APAC.

Through the partnership, Globecast will be providing a wide range of services including cloud and on-prem playout, sports contribution services and content management. The company is also supplying satellite, fibre and IP streaming distribution. Globecast will also host the sports provider’s OTT platform for the region as well as providing the ability to create and distribute pop-up channels as and when required.

Shakunt Malhotra, managing director of Globecast in Asia, said, “Our cutting-edge facilities and technology setup is designed to fully support the needs of valuable, fast-moving sports content. We are very pleased that a company of beIN SPORTS reach and scale recognises the value we bring to the market across multiple services all managed by a single, integrated global supplier. We will ensure each and every fan gets the most immersive experience possible.”

Meanwhile, Sabil Salim, vice president for media technology and operations at beIN Asia Pacific, commented, “As a major sports broadcaster with a wide array of live events, we had to ensure that we partner with a media services company that can meet our requirements and align with our goals. This isn’t only about the very impressive technical capabilities Globecast has demonstrated, it’s also about the fact the company has a significant background in sports.” 

He added, “This is very much about the quality of the content – vital to sports fans – and the fast, flexible way this can be gathered, processed and played out across multiple languages and cultures. They genuinely understand the demands of sports fanatics, which is at the heart of what we do.”

beIN APAC is part of the beIN Media Group and is headquartered in Singapore. It operates in 11 countries across the Asia-Pacific region – Australia, New Zealand, Cambodia, Hong Kong, Indonesia, Laos, Malaysia, Philippines, Thailand, Timor-Leste and Singapore.

The post beIN APAC taps Globecast for fully managed media services appeared first on MARKETECH APAC.

Premiering today, ‘Again My Life’ is a fantasy crime thriller based on a popular webtoon and novel of the same title. It revolves around the life of ‘K’, which is starred by Korean actor Joon-gi Lee, a righteous and hot-blooded prosecutor who has no qualms about standing against corruption and tyranny. His investigations eventually led him to be brutally murdered, but the grim reaper offers him another chance at overthrowing his powerful adversaries.

To build excitement for the show, Viu Singapore is hosting an exclusive screening event at Zouk that will showcase the very first episode of ‘Again My Life’ today of its premiere in South Korea. It is expected to bring together K-drama fans in an action-packed festival filled with photo opportunities, trivia, goodie bag giveaways, and unforgettable moments. Registration was carried out on a first come first served basis and the event was fully subscribed in a week, with over 200 registered guests.

Moreover, in celebration of Joon-gi Lee’s birthday on 17 April, Viu Singapore is giving out his favourite ice cream mint chocolate chip ice cream for free. To be a part of the celebration, fans can simply drop by the ice cream cart located at 313 Somerset Orchard on April 17 from 12 pm to 8 pm, flash the Viu app on their mobile device, and enjoy the sweet icy treat, while stocks last.

Meanwhile, fans can keep a lookout for Viu Singapore’s upcoming ‘Time Bolt’ activation from 18 April to 8 May, which is inspired by time travel, one of the central themes in ‘Again My Life’. Viu Singapore is bringing Singaporeans an immersive motion visual experience located at Waterway Point, Basement 1, where fans will get to ‘travel back’ in time visually, and ‘see’ their younger selves again, at the click of a button. This new immersive reality experience is brought to life by Neuromeka’s flagship collaborative robot, Indy. Normally used by B2B industrial manufacturers to do pick and place for precision work, ‘Indy’, equipped with grippers, and vision sensors will be used for the first time in Asia to be programmed and work alongside humans, for this motion visual experience.

In line with the time travel and crime themes of the show, Viu Singapore is also creating an augmented reality filter contest on Facebook and Instagram, showcasing a crime scene from the past. The top three players per week to spot the five pieces of ‘evidence’ around the room in the shortest amount of time will stand a chance to win a $100 Shopee voucher each. This contest runs from 20 April to 11 May by simply snapping a photo showcasing the fastest time and share it on Viu’s social post to win.

Cheryl Lim, Viu’s country head of brand, marketing and communications for Singapore, said that they wanted to create a series of different activations that would bring to life memorable elements from the show so that it will be immersive and fun for fans and the public alike. 

“We see every activation as a touchpoint for us to give Viu-ers an escape from their daily grind and into the world of Again My Life,” added Lim.

In addition to the events and activations, Viu Singapore will also be launching a month-long integrated campaign supported by themed social media postings on Facebook and Instagram, display and social advertisements, influencer engagement, content strategy, and out-of-home single-decker big top bus advertisements to engage with consumers through various touchpoints across different channels.

The post Viu Singapore marks premiere of K-drama series ‘Again My Life’ with digital, OOH activations appeared first on MARKETECH APAC.

Meanwhile, nearly 9 in 10 people stream content on CTV devices in Australia, and the story is similar in other markets. SpotX research earlier this year found that 68.5% of consumers regularly watch OTT in APAC, predominantly through mobile devices. In more developed markets like Japan, Singapore, and Australia, CTV is also gaining popularity.

Most viewers seek free or low-cost, ad-supported video-on-demand services as they feel the increased strain on their wallets. According to the IAS report, 84% of OTT viewers in Indonesia are willing to see ads in exchange for free streaming content over a paid ad-free service.

Programmatic opportunity in OTT and CTV

Traditionally, TV and OTT ad buys happened separately; however, advertisers increasingly consider them together, indicating an increasing trend of all TV transactions digitally. The efficiencies of programmatic buying and the opportunities to apply data to reach specific audience segments are huge benefits, accelerating the shift of traditional TV budgets to digital channels, especially when it comes to CTV and OTT inventory.

According to eMarketer, CTV programmatic video ad spend in the US is expected to exceed $6.73b in 2021 — accounting for 58.9% of US CTV video ad spend. The majority will be a private marketplace (PMP) and programmatic guaranteed deals, with rates often negotiated upfront. In APAC, many publishers predict more robust growth in CTV spending than their US peers, with a 34% rise in ad spend over the next 12 months compared with 20% for the US. The industry is working on advances in technology to allow a greater degree of addressability in CTV and more sophisticated decisioning for programmatic guaranteed buys across all video channels. 

As programmatic OTT opportunities grow, streaming content creators and services will look to optimise yield while preserving a TV-like viewer experience. Programmatic technology is evolving to meet these complex needs of advertisers and publishers, and OTT header bidding has emerged as a powerful solution.

Safeguarding CTV inventory 

Video content presents an immense opportunity for publishers and advertisers to maximise reach and revenue. However, with the proliferation of SSPs in the market, publishers can find it challenging to manage multiple integrations and optimise yield. 

The demand for CTV advertising is growing exponentially, fueled by increased targeting options, measurement, and transparency as part of programmatic buying. This will continue to open doors for advertisers to reach expansive audiences more efficiently and engagingly. Yet, CTV measurement is still evolving. Partnering with a trusted digital media quality provider can greatly help brands and publishers navigate this changing landscape. This will enhance advertisers’ confidence in OTT and CTV advertising while increasing opportunities for publishers.

Measurement will fuel the future of CTV advertising

During the pandemic, Connected TV (CTV) became the go-to video source for millions of homebound viewers. eMarketer estimates that advertisers will invest over USD$14.4b (£10.8bn) into CTV this year, growing to surpass USD$24.7bn (£18.5bn) by 2024. According to IAS’ Streaming Wars CTV study, CTV has become mainstream in Indonesia and Australia, with the majority of consumers having access to it and a whopping majority of respondents preferring the AVOD model and willing to see ads in exchange for free streaming video. CTV also remained the most viewable format overall, reaching 93.2% in H1 2021 according to our media quality report.

CTV, while still nascent in the region, offers a great advantage for marketers, combining the scale and attention achieved via traditional TV with the precision of digital. Across APAC, CTV viewers are watching for longer periods of time and choosing longer videos. Viewers are also watching a variety of content – from sports and travel to cooking and more.

We expect CTV consumption to grow in 2022 with the discoverability of content on CTV becoming a key focus. AVOD models have increased as video consumption increases, underpinned by the rapid growth of CTV the control and scale provided by programmatic will become even more essential. With the programmatic technology evolving, programmatic will not only facilitate investment into quality impressions but also drive value beyond verification with privacy-compliant, contextual avoidance, and targeting combined with enriched channel-level insights.

This article was written by Laura Quigley, SVP for APAC at IAS.

The article is published as part of MARKETECH APAC’s thought leadership series What’s NEXT. This features marketing leaders sharing their marketing insights and predictions for the upcoming year. The series aims to equip marketers with actionable insights to future-ready their marketing strategies.

If you are a marketing leader and have insights that you’d like to share with regards to the upcoming trends and practices in marketing, please reach out to [email protected] for an opportunity to have your thought-leadership published on the platform.

The post What’s NEXT: The future of CTV measurement and transparency appeared first on MARKETECH APAC.