55 million passengers a year: Miami’s residents, students, and businesses flying out, and the visitors, executives, and families flying in, with Art Week and the Grand Prix on top. Get the MIA media kit for formats, planning ranges, and booking windows.
You’re in good company
At a glance
MIA is American’s Latin America and Caribbean gateway and Miami-Dade’s primary airport. It is a connecting hub with a dense local origin-and-destination base. The cruise-port story belongs on the Fort Lauderdale page.
Miami-Dade Aviation Department reported 55,314,661 passengers in 2025, used here as 55.3 million: about 30.5 million domestic (30,464,597) and about 24.9 million international (24,850,064). The airport ranks about eighth in the U.S. for total passengers and second for international passengers. American’s 2025 hub fact sheet puts American at about 62% of MIA commercial passenger traffic. American describes Miami as its third-largest hub, with a peak schedule above 400 daily flights.
One connected terminal complex: North (Concourse D, American), Central (E, F, and G), and South (H and J). The March 2026 digital inventory concentrates on full-airport prestige and gateway screens and on North Terminal and Concourse D–E spectaculars. Confirm the airline-to-concourse map at contract. Central and South carry Delta, United, JetBlue, LATAM, Avianca, Copa, European carriers, and Gulf carriers as assigned.
Business travel runs both directions. Brickell finance, healthcare, universities, hospitality, and trade employers fly out. Latin American corporate travelers and conference delegates fly in. A material share of American traffic is connecting and may never leave North Terminal airside. Bag claim, post-customs exits, and the curb reach only people beginning or ending a trip in Miami.
The calendar ahead: Adobe MAX, November 10–12, 2026; Art Basel Miami Beach, December 4–6, 2026, with VIP days December 2–3; the holiday and winter Latin America peak; the Discover Boating Miami International Boat Show, February 10–14, 2027; eMerge Americas, March 2–4, 2027; Ultra Music Festival, March 26–28, 2027; Seatrade Cruise Global, April 5–8, 2027; and the Formula 1 Miami Grand Prix, April 30–May 2, 2027, a client-hosting week for its sponsors as much as a fan weekend.
Planning ranges: a single unit or network runs $30,000–$100,000 per 4-week period. A two- or three-network package runs $100,000–$220,000 per period. Full-airport prestige-plus-gateway domination, 228 screens on the current kit, runs north of $240,000 per period. Production and install for standard digital are often included in the media. Specialty and print production are quoted separately. Those are planning ranges, not a rate card. Q4 rates are not printed on the kit face.
Media is sold in 4-week periods. Digital spots are commonly 10 seconds with a published floor of about 12.5% share of voice, roughly one of eight in an about-80-second loop. Confirm the loop length per network. Older materials also listed some spectacular loops near 60 seconds, about 17% share of voice. Read the live floor. Hold, cancellation, materials, and separation terms are not on the March 2026 kit face. They are set at contract. Competitive separation may be possible, but it isn't guaranteed; ask when booking and write it into the contract. Creative needs airport authority approval.
Start your MIA plan
Three ways to start, depending on where you are.
What you can run
The March 2026 pack is digital-first: a 228-screen prestige and gateway domination, a North Terminal spectacular pair, a Concourse D and E spectacular pair, and a Concourse D entrance spectacular. Each digital spot has a published floor around 12.5% share of voice. Older print and wrap faces are supplemental until a live avail confirms them. No single spectacular reaches a South Terminal airline.
Full airport · Digital
About 228 screens across the complex, on domestic and international arrivals and departures
North Terminal · Digital
Large double-sided LED spectaculars in the North Terminal, seen by domestic and international departures and domestic arrivals
Concourses D and E · Digital
New large-format spectaculars near duty free and high-traffic movement
Concourse D · Digital
Eye-level, head-on, at the entrance to Concourse D
Supplemental · Static
Older grids show Concourse D column wraps, soffit banners, wall wraps, arrival banners, and exit exterior faces
The kit states a minimum of about 12.5% share of voice on a 10-second spot across the prestige, gateway, and spectacular networks, roughly one of eight in an about-80-second loop. Older materials listed some spectacular loops near 60 seconds, about 17%. Do not compare MIA to a one-week market without reading the live loop. Q1 through Q3 planning rates appear on the March 2026 face. Q4 is a quote. Winter is availability pressure, not a printed multiplier.
Use the full-airport package for hub-network and always-on brand briefs. For people actually in Miami this week, pair or replace it with origin-and-destination units — claim, the curb, and post-customs public areas — rather than assuming airside share of voice equals local reach. North Terminal spectaculars over-index American. If the audience is on Delta, United, LATAM, or a Gulf carrier in the South Terminal, add Central or South coverage or the full-airport layer.
Historic grids describe Concourse D column domination, soffits, wall wraps, arrival banners, and an exit exterior. Treat those as supplemental until confirmed on a live avail. Production, install, and removal for print are quoted separately when those faces are sold.
The digital, static, experiential, and exterior units brands buy in airports. For MIA we plan specific units and dates against what is open at the time.
Digital screens and video walls in airline business club lounges reach affluent business decision-makers and high-net-worth travelers in a captive setting.
Travelers often spend 90 minutes or more in the club. Screens in dining and seated areas and larger video walls (about 84–100 inches) give the brand both frequency and a dominant face.
Full motion or static creative can rotate through the loop while the audience is already seated.
* Differs depending on the airport.
Target high-level decision-makers and affluent individuals with entrance banners in airport business club lounges.
Engage with a discerning audience in a premium, brand-safe environment.
Showcase innovations for business-to-business brands or emphasize luxury for high-end brands.
* Differs depending on the airport.
Baggage claim digital network screens provide a unique opportunity to connect with travelers at a prime moment.
Strategically placed in high-traffic areas throughout the baggage claim area, these screens ensure maximum exposure for your brand.
By using baggage claim digital network screens, you can deliver your message to travelers multiple times, building frequency and driving engagement.
* Differs depending on the airport.
Packages can range in screen size and quantity. Strategically positioned throughout central airport concourses.
These screens can target 100% of arriving and departing traffic as passengers move towards airport exits and a large percentage of departing traffic as passengers move through the concourses and frequent favorite concessions in the area.
* Differs depending on the airport.
Large format banners offer a large, eye-catching space that can capture the attention of everyone walking through the airport.
They can be strategically placed on walls or hung from ceilings throughout the airport, ensuring maximum exposure for your brand.
With large format banners, you have the opportunity to own 100% of the share of voice in that area.
* Differs depending on the airport.
Experiential advertising at airports lets the brand interact with a captive audience through immersive installations.
Activations can include brand ambassadors, tech-focused displays, and product sampling.
Exhibit space is the same idea: a physical footprint where travelers can engage face-to-face.
* Differs depending on the airport.
Digital charging network screens are a highly effective advertising tool for brand marketers looking to reach a captive audience of travelers.
Travelers engage with the screens while charging devices, which adds dwell to the impression.
* Differs depending on the airport.
Digital spectacular screens offer a powerful advertising tool to capture significant attention in airports.
Strategically located in high-traffic areas, these screens provide maximum visibility and impact for your brand.
With their attention-grabbing size and creative flexibility, digital spectacular screens hold the attention of travelers and drive engagement.
* Differs depending on the airport.
By using digital network screens, you can deliver your message to travelers multiple times throughout their journey.
Strategically placed in high-traffic areas, these screens ensure maximum exposure for your brand.
These screens build frequency and drive engagement, making them an effective advertising option.
* Differs depending on the airport.
Dioramas are backlit displays at eye level in corridors and holdrooms.
They offer a lit, poster-scale face with 100% share of voice on that unit.
* Differs depending on the airport.
Leverage exterior signage to engage airport visitors as they arrive or depart, keeping the brand visible on the campus.
High-impact banners on the building or approach create a lasting impression before travelers enter the terminal.
* Differs depending on the airport.
Flight information screens are some of the most frequently viewed screens in the airport, where passengers already look for gate and time updates.
Advertising on these screens puts the message next to information travelers are actively reading.
* Differs depending on the airport.
Jet bridge wraps put the brand on the walk between gate and aircraft.
The space is captive and sequential: every boarded passenger on that gate walks the length of the wrap.
* Differs depending on the airport.
Large format digital screens offer a unique opportunity to make a lasting impression on travelers.
These screens have the wow factor needed to capture your target audience's attention and inspire them to engage with your brand.
Large format digital screens offer creative flexibility to showcase your brand's messaging and art in a way that resonates with your target audience.
* Differs depending on the airport.
Large format banners offer a large, eye-catching space that can capture the attention of everyone walking through the airport.
They can be strategically placed on walls or hung from ceilings throughout the airport, ensuring maximum exposure for your brand.
With large format banners, you have the opportunity to own 100% of the share of voice in that area.
* Differs depending on the airport.
Mini-spectaculars are smaller spectacular units that still dominate a sightline without a full-wall takeover.
They own share of voice on that face and work in tighter terminal pockets.
* Differs depending on the airport.
Exterior digital billboards at the airport engage a wide mix of travelers on the approach and campus roads.
Creative on digital billboards can run full motion or static.
* Differs depending on the airport.
Large format banners offer a large, eye-catching space that can capture the attention of everyone walking through the airport.
An overhead banner package is sequenced across multiple faces so the brand owns a stretch of the travel journey and a specific airport area, which is what creates the wow effect.
They can be placed on walls or hung from ceilings, with 100% share of voice in that zone.
* Differs depending on the airport.
Spectaculars are large-format displays built for a single dominant face in a high-traffic terminal space.
With the ability to own 100% of the share of voice, your message is the only one being seen by travelers in that area.
* Differs depending on the airport.
Tension fabric displays are a visually stunning way to showcase your brand or product in the airport.
They command attention in a crowded terminal and offer a cost-effective way to reach a large audience.
With tension fabric displays, you have the opportunity to own 100% of the share of voice in that area.
* Differs depending on the airport.
By advertising on airport security trays, the brand reaches travelers during an essential part of the departing journey.
Every passenger who uses that lane handles the tray.
* Differs depending on the airport.
By using vertical digital network screens, you can deliver your message to travelers multiple times throughout their journey.
These are vertical units with a different view profile: most sit at eye level and read with a poster feel.
Strategically placed in high-traffic areas, they build frequency as passengers walk the concourse.
* Differs depending on the airport.
Video walls are strategically positioned in high-traffic areas of the airport, ensuring maximum visibility and engagement for your brand.
These high-impact screens provide maximum visibility for your brand, making a lasting impression on travelers.
* Differs depending on the airport.
Wall wraps offer a visually striking and modern way to showcase your brand in the airport, with the ability to customize them to your brand.
Strategically placed in high-traffic areas, wall wraps capture attention and own 100% of the share of voice on that surface.
* Differs depending on the airport.
Sponsoring Wi-Fi access at airports engages travelers on their personal devices.
Call-to-action pages can be video or static, which is what turns access into a media placement.
* Differs depending on the airport.
Window wraps offer a visually striking and modern way to showcase your brand on terminal glass, with the ability to customize them to your brand.
Strategically placed on windows in high-traffic areas, they capture attention from the interior walkway or the curb and own 100% of the share of voice on that glass.
* Differs depending on the airport.
Examples
Airport advertising in practice, photographed across many airports. Availability at MIA varies by format.
Real brands. Real campaigns.
Campaigns across several countries and media owners, each bought through one contract. Swipe or use the arrows for the markets, the scope, and the result.
U.S. + Canada
Multiple media owners.
One coordinated buy.
EAM brought a U.S. and Canada airport campaign together across multiple media owners.
Five continents
Different markets.
One media partner.
Large-format digital and screen networks across five continents, including London, Paris, Tokyo, and São Paulo.
Airports + airline lounges
Airports and lounges.
One coordinated plan.
A combined airport and airline-lounge presence across the U.S., Europe, and the Middle East.
Five U.S. airports
A year of visibility.
One coordinated rollout.
EAM bought year-long security-tray takeovers across five major U.S. airports.
Latin America
Four airports.
One regional campaign.
EAM planned digital and physical branding across Buenos Aires, Santiago, Bogotá, and Mexico City.
San Jose · SJC
One airport.
A complete takeover.
EAM coordinated a full San Jose airport takeover across digital displays and all 760 security trays.
Airline lounges · 7 U.S. cities
Executive education.
Reached in the lounge.
EAM planned and executed a lounge campaign for Wharton Executive Education in United, Delta, and American clubs across Philadelphia, New York, Dallas, Atlanta, Denver, Minneapolis, and San Diego.
4 markets · Year-round
Four markets.
A full year on screen.
EAM built a year-round enrollment campaign on airport digital video: always on in Salt Lake City, rotating through Dallas, Chicago, and Washington, D.C.
U.S. + Spain
An album launch.
Two countries at once.
For the Saturno release, EAM planned and executed airport advertising in Miami, New York, Chicago, Madrid, and Barcelona, plus an in-flight buy across the JetBlue fleet.
“EAM made a nationwide airport campaign feel much easier to manage. The team was responsive, organized, and always on top of the details. They helped us make smart decisions with the budget, kept everything moving, and ultimately delivered exactly what we were looking for.”
Chief Marketing OfficerFortinet · nationwide airport campaign“This was one of the most challenging campaigns we had ever managed, launching during COVID and the unprecedented freeze in air travel. EAM was an incredible partner throughout the entire process. They worked closely with the airports and media partners to protect our placements and ensure our space was held until travel resumed. Their persistence, communication, and attention to detail made an extremely difficult situation manageable. Without EAM, navigating this campaign would have been a nightmare.”
Chief Marketing OfficerInvest in Canada · airports and airline lounges“We ran a security tray advertising program across several key airports, and EAM was a tremendous partner throughout the process. Their team helped secure the space, manage renewals, and coordinate the campaign seamlessly from start to finish.”
Chief Executive OfficerFlexispot · security tray programThese examples show past EAM campaigns—not a minimum campaign size, a forecast, or a guarantee of results. One-airport briefs are welcome, too.
Cost
$30,000–$100,000 for a single unit or network per 4-week period. $100,000–$220,000 for a two- or three-network package per period. North of $240,000 for full-airport prestige-plus-gateway domination, 228 screens on the current kit, per period. Digital loops commonly run 10-second spots with a published floor around 12.5% share of voice. Those are planning ranges, not a rate card.
Media on the March 2026 specifications is sold in 4-week periods. For Art Week or a conference, one period covering the event is the usual buy. For always-on branding, brands stack periods. Older weekly grids in the intake folder, including a May 2022 multi-airport sheet, are not used as the current price.
What a budget buys at MIA
Planning ranges per 4-week period. Pick the one closest to your brief and we’ll build the plan from it.
A single unit or network
A two- or three-network package
Prestige and gateway domination
These are planning ranges, not packages or a rate card. Actual plans depend on the terminal, the period, and what is open when you book.
Buying unit: 4 weeks. Pricing and availability are subject to change. The kit face is dated March 2026. Hold expiry, cancellation, the materials deadline, proof-of-performance photo terms, and annual increases are not stated on that face. Confirm them in the quote and write them into the contract. Competitive separation may be possible, but it isn't guaranteed; ask when booking and write it into the contract. Creative is subject to airport authority approval. Plan digital creative 14–18 business days before start and static creative 21–28 days before start; the deadline is set at contract.
Unit-level rates, loop-position premiums, and week-specific quotes, including any Q4 premium. What you can plan against: a 4-week buying unit; $30,000–$100,000 for a single placement; $100,000–$220,000 for a two- or three-network package; north of $240,000 for prestige-plus-gateway domination. Specific units and periods come back as a quote.
| Unit | Area | Where it sits | Type | Your spot | Best for |
|---|---|---|---|---|---|
| Prestige and gateway digital domination | Full airport | About 228 screens across the complex, on domestic and international arrivals and departures | Mixed screens, about 70 in and about 55 in | 10-second spot, minimum about 12.5% share of voice, roughly one of eight. Static and motion | Domination-scale frequency for a hub-wide always-on buy or an event week. Includes connectors |
| Digital spectacular pair | North Terminal | Large double-sided LED spectaculars in the North Terminal, seen by domestic and international departures and domestic arrivals | A pair of large LED faces, about 189 in × 113 in class | 10-second spot, minimum about 12.5% share of voice | American-hub presence for Art Week and business peaks |
| Digital spectacular pair | Concourses D and E | New large-format spectaculars near duty free and high-traffic movement | Two wide horizontal faces | 10-second spot, minimum about 12.5% share of voice | Duty-free adjacency and transfer dwell between American and the Central Terminal |
| Entrance digital spectacular | Concourse D | Eye-level, head-on, at the entrance to Concourse D | A single large LED, about 104 in × 132 in class | 10-second spot, minimum about 12.5% share of voice | A focused American-hub read without buying the full spectacular pair |
| Print and wrap program | Supplemental | Older grids show Concourse D column wraps, soffit banners, wall wraps, arrival banners, and exit exterior faces | Various static faces | Full face for the period, when the face is actually on sale | Origin-and-destination arrivals and American gate-hold presence. Confirm they are still live. The March 2026 pack in hand is digital-first |
Timing
For culture and conferences, Art Week and Adobe MAX this winter, then the Boat Show, eMerge, Ultra, Seatrade, and the Formula 1 Miami Grand Prix through spring 2027. For branding, every week: the hemispheric hub and the metro workforce do not wait for a show. Art Week, Adobe MAX, the 2027 race, and Thanksgiving through New Year: hold 4–6 months out.
Dates checked October 2026.
| Event | Timing | Who arrives | What it means for the buy |
|---|---|---|---|
| Adobe MAX | November 10–12, 2026, Miami Beach Convention Center | Creative, marketing, and design professionals | Creative-industry inbound. Both directions if speakers fly American and foreign-flag carriers |
| Art Basel Miami Beach and Art Week | Public days December 4–6, 2026. VIP days December 2–3 | Galleries, collectors, luxury, hospitality | The peak culture week on the near calendar. Arrivals path and North Terminal spectaculars. Book early |
| Holiday and winter Latin America peak | Late November through early January | Families, Latin American visitors, seasonal residents | Consumer, hospitality, and financial weight. Loops fill |
| Discover Boating Miami International Boat Show | February 10–14, 2027, five venues across Miami and Miami Beach | Marine industry, yacht buyers, press | Marine and luxury inbound across the complex |
| eMerge Americas | March 2–4, 2027 | Technology, health, finance, and related audiences; organizers cite 20,000-plus attendees | The technology week; Latin American founders and investors alongside U.S. enterprise |
| Ultra Music Festival | March 26–28, 2027, Bayfront Park | Festival audience and hospitality | Consumer, beverage, and destination brands; the arrivals path the weekend before |
| Seatrade Cruise Global | April 5–8, 2027, Miami Beach Convention Center | Cruise-industry buyers and operators | Industry inbound, not the embarkation guest. Distinct from Fort Lauderdale’s cruise-passenger spine |
| Formula 1 Miami Grand Prix | April 30–May 2, 2027 | Team partners and sponsors, many of them enterprise technology, financial, and automotive brands, the executives and clients they host, and the fans | A B2B hosting week and a luxury week at once; sponsors host clients at Hard Rock Stadium. Contested arrivals inventory |
| Semester peaks | Late August, mid-January, May | Students, parents, faculty | University and recruiting briefs. Departure-side weight |
| Standard weeks | All other periods | Metro workforce, routine Latin America and domestic traffic | Always-on branding. Loops are less contested |
The mistake at MIA is buying the hub as if every passenger were headed to Brickell or Art Basel, or copying Fort Lauderdale’s cruise brief onto Concourse D. North Terminal airside reaches American’s connecting banks. Bag claim and the curb face origin-and-destination passengers entering Miami. PortMiami moved about 8.6 million cruise guests in fiscal 2025, so hospitality and transfer brands do buy MIA arrivals. The cruise-two-miles spine still belongs on the Fort Lauderdale page.
Art Week, Adobe MAX, Formula 1 Miami 2027, and Thanksgiving through New Year: hold 4–6 months out. The boat show, Seatrade, eMerge Americas, and semester peaks: 8–12 weeks is often enough. Always-on periods are often workable at 4–8 weeks. Peak weeks sell North Terminal spectaculars and full-airport digital first.
Pressure shows up as contested North Terminal and Concourse D–E inventory when Art Week or a 2027 race weekend is in town, and as winter Latin America load on both airside and claim. Full-airport domination needs earlier scoping because it is a single large line.
| Tier | Examples | Hold by | What sells first | Pricing character |
|---|---|---|---|---|
| Peak | Art Basel and Art Week; Adobe MAX; Formula 1 Miami 2027; Thanksgiving through New Year | 4–6 months | North Terminal spectaculars, Concourse D entrance spectacular, full-airport prestige and gateway | Open 4-week rates; contested. Q4 is a quote |
| High | Boat show, Seatrade, eMerge Americas, semester peaks | 8–12 weeks | Spectaculars and claim-path units | Standard 4-week rates |
| Standard | Weeks outside the calendar peaks | 4–8 weeks | Most digital faces more open | Standard 4-week rates; the window to start always-on |
Ready to plan?
Tell us who you need to reach, where, and when. We come back with current availability at every airport in the plan and a recommended mix.
Placement
On the concourse your audience’s airline uses, and on the side of the trip you actually need. Concourse D is American’s hub heart. Central E, F, and G and South H and J carry the rest. Airside spectaculars reach connectors. Bag claim and the curb, after federal inspection for international arrivals, reach people entering Miami.
| Path | Where the units are | Who is there | Priority |
|---|---|---|---|
| American airside | Concourse D entrance spectacular, D and E spectaculars, North Terminal pair, prestige screens on D | American domestic, Latin America, and Caribbean banks, including connectors | Highest for hub-network and airline-alliance briefs. An upper bound if the brief is people in Miami |
| International origin-and-destination | Public areas after federal inspection: bag claim and the curb | The share of 24.9 million international passengers who are ending a trip | Highest for hotels, Art Week, and conference delegates who are actually in the city |
| Other airlines | Central and South concourses, or the full-airport digital layer | Delta, United, JetBlue, LATAM, Avianca, Copa, European and Gulf carriers as assigned | Required when the audience is not on American |
| Cruise transfer | Arrivals path, not a port spectacular this kit does not list | Some of PortMiami’s guests connecting through MIA | A transfer brief, not Fort Lauderdale’s embarkation brief |
What matters at MIA is which concourse the airline uses and whether the brief is connecting or landing. A full-airport digital buy covers the complex in one line. Spectaculars in the current kit over-index North Terminal and Concourses D and E.
Why this airport
Because American’s Latin America and Caribbean gateway and Miami’s convention and Art Week calendar share one airport. About 55.3 million passengers a year move through a single connected complex. About 45% are international. Brands buy the resident metro and the Latin American visitor on the departure side, and the conference and Art Week inbound on arrivals.
In 2025 the airport ranked about eighth in the U.S. for total passengers and second for international passengers. American treats Miami as its primary international gateway to the Americas. Public carrier materials put the peak day above 400 flights. A plan that ignores Concourse D is not an American-hub plan. A plan that only buys Concourse D misses South Terminal long-haul arrivals.
The Miami Beach Convention Center and the culture calendar change who arrives for defined weeks. Those delegates still use this airport. They are weight on top of a workforce and a Latin American visitor base that fly every week.
Audience
55.3 million passengers in 2025 across one connected complex. American dominates Concourse D and the North Terminal. Central and South terminals carry the rest of the domestic and long-haul mix. The useful audience for a conference brief is the industry landing that week. For a branding brief it is the metro workforce, Latin American visitors, and students who use these concourses every week.
| Concourse | Airlines (confirm at contract) | What it means for the buy | Direction |
|---|---|---|---|
| North — D | American, and selected partners as assigned | Highest American dwell. Domestic and Latin America banks. Connecting share stays airside | Gate-hold and Concourse D spectaculars for the hub. Claim for people entering Miami |
| Central — E | A mix of U.S. and international carriers, including JetBlue, British Airways, Iberia, Qatar, and Alaska as assigned | Duty-free and transfer-adjacent. New spectacular inventory sits on D and E | Both directions |
| Central — F and G | Low-cost and regional international mix, including Frontier, Southwest, Bahamasair, and Porter as assigned | Leisure and Caribbean-leaning origin-and-destination when the audience is not on American | Weight claim if they are landing |
| South — H and J | Delta, United, LATAM, Avianca, Copa, Air France, Lufthansa, Emirates, and other foreign-flag carriers as assigned | Broad international arrivals and departures | Post-customs public path for long-haul origin-and-destination |
Latin America network and airline-alliance briefs can live airside. Hotel, destination, and people-actually-in-Miami briefs must weight the origin-and-destination path.
American’s hub and the foreign-flag mix put finance, trade, telecom, and corporate traffic through Concourse D and the South Terminal international gates. Always-on business-to-business, financial, and software brands weight departure-side and airside frequency. Brickell, healthcare, and trade employers use the same airport as the weekly departure door.
Adobe MAX, Art Basel and Art Week, the boat show, Seatrade, eMerge Americas, and Formula 1 Miami 2027. One 4-week period covering the event is the natural buy. Arrival-side claim and spectaculars on the origin-and-destination path do the inbound day.
About 24.9 million international passengers in 2025, roughly 45% of the building. Public units reach them after federal inspection, at bag claim and the curb, not at the gate.
University of Miami, FIU, Miami Dade College, and out-of-state programs peak in August, January, and May. Education brands EAM has placed in airports include Wharton, BYU, the University of Michigan, the University of Pittsburgh, and UT Dallas.
Who advertises
Latin American corporate and financial brands on the American hub; Miami employer brands on the departure side; galleries, luxury, and hospitality in Art Week; conference brands in the weeks their buyers land; cruise-industry buyers at Seatrade, which is not the same as a cruise passenger; universities on the semester calendar.
| Objective | Who buys it | Who it reaches | What the buy usually looks like |
|---|---|---|---|
| Latin America corporate and finance | Banks, trade, telecom, software | American’s hub and foreign-flag business traffic, both directions | Concourse D and full-airport digital, stacked 4-week periods |
| Employer brand | Brickell, healthcare, hospitality, trade employers | Metro residents departing and returning | Departure-side weight, year-round |
| Art Week and luxury | Galleries, luxury, hospitality | Collectors, sponsors, and the clients they host | The December 2026 period. Arrivals path and North Terminal spectaculars |
| Conferences | Payments, creative, technology, cruise-industry buyers | Delegates for Adobe MAX, eMerge, and Seatrade | The 4-week period covering the show |
| Formula 1 sponsors | Teams, sponsors, hospitality | Fans plus the executives sponsors host in 2027 | The April 30–May 2, 2027 period. Not the finished 2026 race. Not a consumer-only week |
| Universities | Local and out-of-state programs | Students, parents, alumni | Departure side in late August, mid-January, and May |
Do not tell a business brand to skip Art Week. Sponsors and galleries host clients. Do tell them the loops fill, and that a connector on Concourse D is not the same person as a collector at claim.
How EAM works
One call, one plan, one contract. We follow up to learn who you need to reach and the objective, then come back with current availability and a recommended mix.
Step 01
Always-on versus Art Week, a conference, the winter peak, or the 2027 race; Concourse D only versus Central and South versus the full airport; connecting, landing, or both; MIA alone or with Fort Lauderdale when the brief needs the cruise door.
You getThe period, the terminal, and the direction
Step 02
Which spectaculars and networks are open, how the live loop compares with the 12.5% floor, whether a print face from an older grid is actually on sale, and whether category separation is possible. Competitive separation may be possible, but it isn't guaranteed; ask when booking and write it into the contract.
You getAvailability and loop crowding
Step 03
Formats, share of voice, and a range, not a scraped rate card. After we know who you need to reach, we come back with current availability and a plan you can take inside.
You getA range and a mix you can take inside
Step 04
Specs across prestige, gateway, and spectacular aspect ratios. Airport authority approval. Files in on the date the contract sets. The March 2026 face does not publish a standard lead time.
You getSpecs, approval, and a materials date
Step 05
Confirm posting before the first arrival wave. Deliver proof of posting and play logs after the flight.
You getProof of posting and play logs
EAM Advertising is an independent airport and in-flight media agency, founded in 2015. We specialize in airport and in-flight media and nothing else, and we do not own media assets at MIA or any airport. That independence is why the recommendations hold up. We plan and buy across 125+ airports and 45+ airlines worldwide, which is the leverage and the current-availability knowledge a one-time MIA buyer does not have. Clients include Fortinet, Dynatrace, Rubrik, McGraw-Hill, and Wharton. When the strategy extends beyond Miami — a Florida plan that also needs Fort Lauderdale or Orlando, a Latin America multi-city launch, a U.S. roadshow — the same relationship covers the other markets.
For agencies and consultants
Agencies and consultants bring EAM Advertising in as the airport specialist behind a client’s plan. The client relationship stays with you. We plan, buy, and report under NDA, and can work white-label.
Get our media kitMeasurement
Proof of posting and digital play logs are factual. Delivered impressions are modeled. A brand-lift study is the only method that speaks to effect, and it has to be fielded before the flight. Direct pipeline attribution is not reliably available. Play logs are the check on whether the 12.5% floor was what actually ran.
| Measure | What it actually tells you | When to set it up | Confidence |
|---|---|---|---|
| Proof of posting | Photographic confirmation that every unit ran, in the right place, for the full period. The March 2026 face does not publish photo terms. Write them into the contract. | Written into the contract before signing | High — factual |
| Delivered impressions | Modeled audience delivery from airport traffic and unit position. An estimate. North Terminal counts include connectors who never enter Miami. | Requested at proposal stage | Moderate — modeled |
| Digital play logs | Actual spot counts and share of voice against the published floor of about 12.5%. | Requested at contracting | High — logged |
| Brand lift study | Survey-based awareness or perception change against a control. The only method that measures effect rather than exposure. | Fielded before the flight, for a baseline | Moderate — needs budget and lead time |
| Direct attribution to pipeline | Not reliably available. Airport media has no click, and the same brands run other touchpoints at the same time. | Do not plan the buy around it | Low — treat claims here with skepticism |
Hub-network briefs can defend airside play logs. Art Week and hotel briefs need the origin-and-destination path in the proof, or the number overstates people who were in Miami.
Questions
A single unit or network runs $30,000–$100,000 per 4-week period. A two- or three-network package runs $100,000–$220,000 per period. Full-airport prestige-plus-gateway domination, 228 screens on the current kit, runs north of $240,000 per period. Production and install for standard digital are often included in the media. Specialty and print production are quoted separately. Those are planning ranges; specific units and periods are quoted against current availability.
In 4-week periods on the current specifications. Digital networks commonly run 10-second spots with a published floor around 12.5% share of voice, roughly one of eight in an about-80-second loop. Confirm the live loop per network. Q1 through Q3 planning rates appear on the March 2026 kit face. Q4 is a quote. Hold, cancellation, and materials deadlines come from the quote when the kit face is silent. Competitive separation may be possible, but it isn't guaranteed; ask when booking and write it into the contract.
The one your audience’s airlines use. American concentrates in the North Terminal on Concourse D. Central Terminal, concourses E, F, and G, and South Terminal, concourses H and J, carry the broader domestic and international mix. Full-airport digital covers the complex in one line. Spectaculars in the current kit over-index the North Terminal and concourses D and E. Confirm the airline map at contract.
Yes, on Concourse D airside, the D and E spectaculars, and full-airport digital faces on those paths. That is often a large share of an American bank. Connecting passengers typically never see bag claim, post-customs public areas, or the curb. If the brief is people actually in Miami, weight the origin-and-destination path. If the brief is the hub network, airside frequency is the point.
Yes, after federal inspection. International arrivals reach public advertising at bag claim and the curb, not at the gate. For a Latin America or long-haul inbound brief, post-customs units matter. Concourse D airside units reach outbound Latin America traffic and domestic connectors instead.
Art Week, Adobe MAX, and Formula 1 Miami 2027: plan to hold 4–6 months out. The boat show, Seatrade, and eMerge Americas: 8–12 weeks is often enough. Always-on periods are often workable at 4–8 weeks.
Yes, as a hub branding buy year-round and as a conference buy when the industry is at the Miami Beach Convention Center or in town for Art Week. Adobe MAX, Seatrade, and eMerge Americas are clear business peaks. Art Week pulls galleries, luxury, and finance, including the clients they host. Outside those weeks, target the metro employer base and American’s Latin America corporate traffic.
MIA is American’s hemispheric hub, with roughly 45% international traffic and the U.S. lead in flights to Latin America and the Caribbean. Fort Lauderdale is a Broward origin-and-destination airport whose page is built around Port Everglades, about two miles from the gate. Cruise embarkation briefs usually start at Fort Lauderdale. Latin America corporate, Art Week, and Miami-Dade origin-and-destination briefs usually start at MIA. Many South Florida plans use both. This page does not choose the market for you.
Yes. University of Miami, FIU, Miami Dade College, and out-of-state programs recruiting South Florida students, plus alumni campaigns around commencement. Education brands EAM has placed in airports include Wharton, BYU, the University of Michigan, the University of Pittsburgh, and UT Dallas. Natural periods are late August, mid-January, and May.
Take the materials deadline from the quote. The March 2026 kit face does not publish a standard lead time. All creative needs airport authority approval before it posts. A multi-network buy often includes several LED aspect ratios across prestige, gateway, and spectacular faces.
The 2027 race, April 30–May 2, does. Teams’ partners and sponsors host executives and clients, so it is not a consumer-only week. Buy the 4-week period that contains the 2027 race, and expect contested arrivals inventory.
Everything after the objective. We check what's open for the week, which loops are crowded and which units will sell out, and where on the arrival path your audience actually walks. We recommend the mix, secure the units, traffic the creative through airport approval, confirm posting on day one, and deliver proof of posting and play logs after. If MIA is one market in a larger plan, the same relationship covers the others.
Independent airport advertising media agency. Est. 2015.
Send your work email for the media kit: formats, planning ranges, and how EAM works. We’ll follow up to learn who you need to reach and when, then come back with current availability and a recommended mix.
Independent since 2015 · 125+ airports · 40+ media vendors
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