Thursday 26 June 2008
The Riff Raff Make Tracks on Bebo
Our friends at Hideous Productions have been working with unsigned band, The Riff Raff to help them raise their profile among music-loving teens.
In a unique + innovative campaign, The Riff Raff is asking Bebo users to help them launch their debut album in a way that's never been done before!
The Riff Raff Make Tracks page asks Bebo users to join them on a journey which will take them to some of the coolest + unusual locations across the world. Each week they'll visit a different destination decided by the Bebo community through online polls, where they'll perform at gigs, meet some famous faces + generally have a lot of fun. All of their performances + antics will be documented via video posts, blog entries + more on Bebo. And as they go, they'll introduce a different track from the album to their Bebo community, which can then be downloaded via the Bebo site. So by the end of the tour not only will the fans have collected the entire debut album, they'll have been taken on, and contributed to an unforgettable journey with the band as well.
We think this is going to be a HUGE hit with the Bebo crowd..potentially changing the way music is released FOREVER! Support the band + join them on their journey by becoming a fan here..we have.
Tuesday 17 June 2008
Round-up 17//06//08
TALKS / COURSES
Online Marketing Show 24th + 25th June – this is FREE guys, some of us should definitely go. Including a variety of talks including: Creative Directors showcase, Marketing through Social Networks, Widgets / Web Apps.
TELECOMMS
Orange to launch innovative virtual balloon race. Nice new Sony Ericsson G700. The negative impact of the iPhone on other carriers and makers.
SOCIAL MEDIA
Social networking site Bebo has commissioned a 2nd series of online TV show Sofia's Diary starring the 17-year old Sofia and her friends at college and work. Sofia’s Diary which was sponsored by Unilever’s Sure Girl deodorant first time round was also broadcast on digital TV station Fiver where it attracts 250k viewers. Channel 4 has turned to Facebook and Bebo to trigger interest in Big Brother 9 with a Facebook fan page and application which users can use to watch and rate the show + get news as it breaks. Research by Thinkbox and the IAB shows that using TV and online together in ad campaigns can result in 47% more positivity about a brand. The research also shows that the likelihood of buying or using a product increases by more than 50% when the two channels are used together…really interesting article debating in-house vs. out-sourcing when it comes to the production of engaging digital content at a time when agencies such as AKQA are setting up film departments in-house. From Nada - a clever campaign from Penguin that tells stories through Google Maps + Twitter...oooh.
GREEN STUFF
Innocent is running its ‘buy one get one tree’ campaign again which plants a tree for every bottle of Innocent bought. The site also includes digital badges, Facebook widgets and information on UK forest walks. Here's what Contagious has to say about it. Discovery Channel have launched a Planet Green channel. At a time of real concern for the number of plastic bottles hitting landfill (which take 150 years to decompose!), research shows that the UK is the fastest growing bottled-water market. To attempt to reverse this trend, the Evening Standard launched the Water on tap campaign alongside Mayor Ken (Boris continues to support it) encouraging London restaurants to pledge to offer tap water as standard to make drinking tap water more socially acceptable.
WII-NOVATION
You can now use your Wii remote to create street art with Wii-graffiti. Quit smoking with Alan Carr, Ubisoft and DS:
JUST COOL / CLEVER STUFF
Customise your moleskin. Clever advertising for Alzheimers charity in South Africa. Clever and simple. A site where you can find movie title screens – might come in useful one day?!
THE WORLD WIDE WEB
Apple launches films on iTunes. A really impactful video and website for charity, the girl effect which aims to empower females in poverty-striken countries. Coldplay preview new album on MySpace. To support new release Adulthood – the sequel to last year’s Kidulthood, Pathe has created a Facebook fan page offering ‘fans’ the chance to win screening tickets and access exclusive content such as trailers and film stills. This is genius – NZ campaign to encourage reading (and slacking at work) with book scripts presented in powerpoint. The Green Room + E.I have launched a new microsite for Christian Aid called ctrl.alt.shift. Ctrl.alt.shift differentiates Christian Aid from other charities by not just asking for money but by empowering people to make a difference with matters they’re really passionate about - giving them a voice and a platform to express it in a way that reaches + inspires others. The community-based site asks its users to create content that helps raise awareness of the various issues that Christian Aid supports, with the best being posted to the site. The initiative is being supported by top music names, Estelle and Sway.
YOOF
The Ruby Pseudo blog has these great timelines to show what’s pertinent + personal to kids’ aged between 11-16, broken down by year: 11-12's / 12-13's / 14-15's / 15-16's
Interesting Mobile youth Marketing to Generation Y presentation. And even better than that, MTV Asia has written this great pres on youth behaviour – full of great stats and insights.
CAKES
F*^k off-off. I noticed on W+K’s blog that they’ve had bake-offs and Jack-offs, and last week they held a Muff-off. And sources tell me that Iris often hold bake-offs – and while I know we’re planning a bank holiday Jerk-off, I can’t help thinking we need to avoid the whole ‘off-ing’ thing. So wrack your brains for thoughts on how we can each demonstrate our creative talents in a fun way that brings us all together. Alternatively we could take the bake-off thing to a new level of wholesome’ness and do it for Breast Cancer Care who’s asking people to hold strawberry picnics this June.
EXTRA-CURRICULAR ACTIVITIES
Looks cool - Clive Boursnell exhibition on historic london. And another exhibition about the last few months of the Routemaster in London. IT'S MY BIRTHDAY next week - so I'm going here on Friday if anyone would like to join me for a night of pass the parcel, limbo + burlesque...no, really!
JUST WEIRD
Jeeeezus.
One for Lucy – social media (baby book) for babies.
Orange runs virtual balloon race
Orange is kicking off one of its most innovative online marketing campaigns to date.
A virtual race will see users follow personalised balloons across hundreds of sites in a seven-day bid to win a £20,000 VIP trip to Ibiza.
The technically complex project is a bid to engage with online audiences through blogs and social media.
The race will promote Orange's mobile tariffs by inviting users to tag a balloon shaped like its dolphin, panther, canary and racoon brands.
The race launches in three weeks and entrants will be able to track and control their balloon as it travels across the web.
Each site equals one internet mile and the user with the most miles at the end of seven days wins. Players can also get bonus prizes and energy boosts for their balloons.
They can also submit a website to be part of the racecourse, in a bid to extend the game's reach and enable bloggers and site owners to drive traffic to their sites. The race was created by digital agency Poke, which also created Orange's 'Spot the bull' campaign and its Unlimited website.
The campaign comes as Orange unveiled its new marketing strategy, announced yesterday.
http://www.playballoonacy.com/
Source: nma.co.uk
A virtual race will see users follow personalised balloons across hundreds of sites in a seven-day bid to win a £20,000 VIP trip to Ibiza.
The technically complex project is a bid to engage with online audiences through blogs and social media.
The race will promote Orange's mobile tariffs by inviting users to tag a balloon shaped like its dolphin, panther, canary and racoon brands.
The race launches in three weeks and entrants will be able to track and control their balloon as it travels across the web.
Each site equals one internet mile and the user with the most miles at the end of seven days wins. Players can also get bonus prizes and energy boosts for their balloons.
They can also submit a website to be part of the racecourse, in a bid to extend the game's reach and enable bloggers and site owners to drive traffic to their sites. The race was created by digital agency Poke, which also created Orange's 'Spot the bull' campaign and its Unlimited website.
The campaign comes as Orange unveiled its new marketing strategy, announced yesterday.
http://www.playballoonacy.com/
Source: nma.co.uk
Coldplay preview new album on MySpace
Coldplay is to stream its new album exclusively to MySpace users ahead of its official release.
MySpace members will be able to listen to ‘Viva la Vida’ from 6pm today, before it goes on worldwide release on 17 June.
Full tracks from the band’s fourth album will be streamed through its profile page, which also features tour dates and a blog. The profile currently has more than 415,000 friends, making it one of the most popular on MySpace Music.
This is the third time the British band has streamed content on MySpace. T-Pain and Timbaland are among previous acts to use the social network to launch albums.
Source: nma.co.uk
Creative Control
With the rise of online video agencies are launching in-house broadcast divisions. Are they anticipating a new market or treading on toes? Nicola Smith reports
Last month, digital agency AKQA became the latest in a rash of creative agencies to launch an in-house film division (NMA 08.05.08). Agencies are reacting to brands' rapidly increasing demand for online campaigns centred around film and video. So is now the right time to be creating one-stop shops for clients? Or do advertisers not care where this capability comes from, as long as the work is achieved on time, on budget and to brief?
In-house in vogue?
"The exciting thing is that digital agencies can now make creative, engaging video content for their clients' audiences, whereas before it seemed to be the domain of the more traditional agencies," says James Hilton, founder and executive creative director at AKQA. "I love the fact that the playing field is levelling off and the name of the game is 'best idea wins'."
Honda (UK) is one brand that welcomes the shift. Jonny Freeman, digital marketing manager at Honda (UK), says, "We need to know we can be flexible and retain creative control. Having video-editing capabilities within a digital agency is an advantage for any brand owner."
Cheryl Calverley, UK marketing manager for Chrysalis brands at Unilever - which recently worked with AKQA on the 'Tipping pot' online film for Pot Noodle, a spoof of Guinness's well-known 'Tipping point' TV ad - also sees the trend as a positive move for brands. She says that in-house production brings "far greater experience to the process at an earlier stage, allowing creative development to be tailored more specifically to capabilities."
Yet these brands appear to be in the minority. For others, strong relationships and brand affinity outweigh increased in-house functionality. Sports brand Fila recently worked initially with its PR agency Frank PR and then directly with content specialists Red Bee Media to produce a viral campaign to promote its new trainer, the White Line Fila Vintage. While Fila and Frank PR jointly came up with the concept of a short online film that spoofed the British gangster genre, Red Bee wrote the script and made the film, but outsourced post-production. For Fila it was about finding the right fit. "Red Bee had experience in producing virals but this wasn't a huge factor when choosing a company to work with," says Marc Travis, marketing manager of Fila." It was more about finding a company that understood Fila, had a feel for its background and was able to tap into the edginess that would appeal to our consumer market."
British Red Cross has a similar take. It recently worked with digital agency Enable Interactive to create a campaign that engaged and educated young people about the global HIV pandemic. Enable doesn't have a digital film unit in-house so worked with an external agency to produce three 30-second films. The campaign was launched on social networks, achieving more than 25,000 profile views on World AIDS Day on Bebo alone.
Lack of in-house production capabilities was not an issue to Red Cross new media manager Dorothea Arndt. "I'm a big fan of working with the best people available for the job, of bringing together different agencies," she says. "The principle is very simple: you treat everyone as part of your internal team. We weren't at all fazed by not having some of the expertise in-house, we just made sure we got everyone in one room when we briefed the screenplay."
Team work
Animation specialist Aardman has recently collaborated on a project with Digital Outlook Studios, the digital film arm of agency Digital Outlook. Aardman's online creative director Dan Efergan is equally relaxed. "We'll happily work with any agency, specialist or individual, or a combination of them all, as long as we believe the outcome will be strong," he says. Aardman and Digital Outlook worked together to create a new franchise, a set of animated characters for teens called the JellyBeats, which will be launched on Bebo and will be promoted via a series of short films.
Another company that has achieved impressive results working with a specialist production company is Tenon, the UK's ninth largest accountancy firm. It launched its own online TV channel in March, working with online business channel Moviecom. The channel launched with a video announcement of the company's annual results, which Moviecom scripted, filmed and edited. But Bev Cook, Tenon's associate director of national marketing, doesn't believe success hinges on working with one partner. "As long as you've done your homework and you have the brief right, the right relationship and the agency is happy to work with other outfits, there's no reason why a creative agency shouldn't work successfully with an external production company."
While the majority of brands place greater emphasis on the relationship and cultural fit over in-house production expertise, they do acknowledge the advantages of working with a full-service partner. As Aardman's Efergan says, "With every additional link in a production the creative vision has more opportunities to get corrupted - the Chinese whisper effect that leaves an idea warped and further removed from its original intentions."
Travis adds that consistency is a boon of working with an agency with in-house film production skills. "It was beneficial to have input from Marcus [Jones, director of Red Bee] from day one, right through to filming and final edit. You get immediate ownership, improved communication and consistency from the start."
Unilever's Calverley is also quick to reel off the advantages. "Reduced expense, the ability to develop creative with an eye on production at all times, and a collaborative team with the same vision at all stages of the project."
Agencies that have recently launched specialist film units in an effort to capitalise on the online video boom are also, predictably, vocal about the benefits. AKQA's Hilton says, "Our in-house directors work hand in hand with our creative teams, bringing with them insight and familiarity with our clients' brands that an outside director may not have."
Simon Cam, head of Superglue, the digital film department of agency Glue, also believes its clients welcome the hand-in-hand approach. "Not many people are putting Flash developers, directors and post-production people in the same room and saying, 'Talk to each other constantly throughout the project.' It means we can achieve some of the more ambitious pieces we want to produce," he says.
Patrick Holtkamp, MD of online video agency Wax, agrees. "Our directors are our creative directors and the producers are the account directors. By doing this we're cutting huge layers of communication and we get the client talking and working directly with the people who make the campaign happen."
In-house limits
Efergan offers an alternative school of thought, believing that working with numerous good people from different sources can also serve to "magnify a project's outcome, not corrupt it".
There are certainly potential advantages to working with an agency that is forced to outsource film production. For example, an opportunity to find a better skill fit for specific projects, something that even Jens Bachem, MD of Digital Outlook and its film division Digital Outlook Studios, readily acknowledges. The company still calls on freelance skills to ensure each brief is met by the best people. Bachem believes this approach avoids one of the possible dangers of relying solely on in-house talent. "If an agency has hired a particular team of in-house directors or writers, then it'll be tempted to shoehorn them into a project, even if it's not 100% their style or skill."
Liz Smith, founder of production company Film38, supports this view. "Sub-contracting to specialists means you have more choice," she says. "You may be able to find a supplier better able to serve a certain brief, not to mention the fact that they're forced to be competitive in order to win business."
Most agencies that have launched specialist film arms do still dip into the freelance pool, but Bachem's point is a valid one, particularly when brands' budgets restrict how much additional outside expertise an agency can bring in. Hilton claims AKQA simply does whatever it needs to do. "We work with the most talented people in the industry, many of whom we're fortunate enough to have here at AKQA, but other times we go outside to use the skills of other individuals or production facilities."
Cam states that one of Glue's big aims when it launched Superglue was to remain flexible. "We wanted to foster in-house specialism but not at the expense of using third party suppliers. We might pull in live-action film work from someone who specialises in comedy, for example, then bolt on Superglue's post production and digital integration skills. It's about keeping it flexible and modular."
However the landscape pans out, it's valid to ask whether we might see decoupling in the world of digital advertising as brands begin working directly with production specialists rather than via creative agencies. It has been a huge debate in the world of traditional advertising, with agencies like Wax invited to speak to advertisers at a recent ISBA conference devoted to decoupling (see Opinion, page 31).
For digital, the jury is definitely still out, with brands less convinced than agencies. Aardman's Efergan believes that, as campaigns become more integrated, there will be a greater need for agencies to pull the different elements together and ensure a cohesive approach from different specialists working on the same project. Calverley agrees that the shift is unlikely. "We work with digital agencies on far more than films - they're just one aspect of a complex digital strategy," she says.
It's a view backed up by Film38's Smith, who says that most clients are looking for more than just film production, such as a communication strategy or tracking and analysis. "In those scenarios, I expect production to continue to be commissioned by agencies."
Fila's Travis is more open-minded. "It could definitely be the way things move forward. If there's good chemistry between the parties you can really make something that's strong and unexpected, which is what I believe we did with the White Line Fila Vintage film."
Positive outlook
The digital agencies that have already launched specialist units are understandably more positive that this is the future, and some are already working in this way. Holtkamp says the need to have a separate creative shop is no longer there, while Hilton says AKQA has always worked directly with its clients and its film division is no different. "It means none of the innovation and creativity are lost in translation."
The most outspoken is Andy Rogers, MD of eTV, which produces and distributes interactive video content. He says digital and TV will combine within the next five years, creating a new industry. "There will always be room in the marketplace for specialists, but the industry will be led by those willing to bring together and fully exploit both disciplines," he says. Indeed, research by Thinkbox and the Internet Advertising Bureau (IAB) in May showed that, already, using TV and online together in ad campaigns results in 47% more positivity about a brand than using either in isolation, while the likelihood of buying or using a product increases by more than 50% when the two channels are used together.
So maybe digital agencies already investing in film capability are simply anticipating what their slightly sceptical clients will demand in months to come.
Quick facts -- Brands don't view film production capabilities as key to a creative agency's armour, although they recognise the benefits -- Key advantages to having in-house film production are improved communication and consistency, reduced expense and brand familiarity -- Key advantages to outsourcing film production include sourcing skills specific to each project and, potentially, more competitive prices -- Research by Thinkbox and the IAB shows that using TV and online together in ad campaigns can result in 47% more positivity about a brand -- The research also shows that the likelihood of buying or using a product increases by more than 50% when the two channels are used together
Source: nma.co.uk
Last month, digital agency AKQA became the latest in a rash of creative agencies to launch an in-house film division (NMA 08.05.08). Agencies are reacting to brands' rapidly increasing demand for online campaigns centred around film and video. So is now the right time to be creating one-stop shops for clients? Or do advertisers not care where this capability comes from, as long as the work is achieved on time, on budget and to brief?
In-house in vogue?
"The exciting thing is that digital agencies can now make creative, engaging video content for their clients' audiences, whereas before it seemed to be the domain of the more traditional agencies," says James Hilton, founder and executive creative director at AKQA. "I love the fact that the playing field is levelling off and the name of the game is 'best idea wins'."
Honda (UK) is one brand that welcomes the shift. Jonny Freeman, digital marketing manager at Honda (UK), says, "We need to know we can be flexible and retain creative control. Having video-editing capabilities within a digital agency is an advantage for any brand owner."
Cheryl Calverley, UK marketing manager for Chrysalis brands at Unilever - which recently worked with AKQA on the 'Tipping pot' online film for Pot Noodle, a spoof of Guinness's well-known 'Tipping point' TV ad - also sees the trend as a positive move for brands. She says that in-house production brings "far greater experience to the process at an earlier stage, allowing creative development to be tailored more specifically to capabilities."
Yet these brands appear to be in the minority. For others, strong relationships and brand affinity outweigh increased in-house functionality. Sports brand Fila recently worked initially with its PR agency Frank PR and then directly with content specialists Red Bee Media to produce a viral campaign to promote its new trainer, the White Line Fila Vintage. While Fila and Frank PR jointly came up with the concept of a short online film that spoofed the British gangster genre, Red Bee wrote the script and made the film, but outsourced post-production. For Fila it was about finding the right fit. "Red Bee had experience in producing virals but this wasn't a huge factor when choosing a company to work with," says Marc Travis, marketing manager of Fila." It was more about finding a company that understood Fila, had a feel for its background and was able to tap into the edginess that would appeal to our consumer market."
British Red Cross has a similar take. It recently worked with digital agency Enable Interactive to create a campaign that engaged and educated young people about the global HIV pandemic. Enable doesn't have a digital film unit in-house so worked with an external agency to produce three 30-second films. The campaign was launched on social networks, achieving more than 25,000 profile views on World AIDS Day on Bebo alone.
Lack of in-house production capabilities was not an issue to Red Cross new media manager Dorothea Arndt. "I'm a big fan of working with the best people available for the job, of bringing together different agencies," she says. "The principle is very simple: you treat everyone as part of your internal team. We weren't at all fazed by not having some of the expertise in-house, we just made sure we got everyone in one room when we briefed the screenplay."
Team work
Animation specialist Aardman has recently collaborated on a project with Digital Outlook Studios, the digital film arm of agency Digital Outlook. Aardman's online creative director Dan Efergan is equally relaxed. "We'll happily work with any agency, specialist or individual, or a combination of them all, as long as we believe the outcome will be strong," he says. Aardman and Digital Outlook worked together to create a new franchise, a set of animated characters for teens called the JellyBeats, which will be launched on Bebo and will be promoted via a series of short films.
Another company that has achieved impressive results working with a specialist production company is Tenon, the UK's ninth largest accountancy firm. It launched its own online TV channel in March, working with online business channel Moviecom. The channel launched with a video announcement of the company's annual results, which Moviecom scripted, filmed and edited. But Bev Cook, Tenon's associate director of national marketing, doesn't believe success hinges on working with one partner. "As long as you've done your homework and you have the brief right, the right relationship and the agency is happy to work with other outfits, there's no reason why a creative agency shouldn't work successfully with an external production company."
While the majority of brands place greater emphasis on the relationship and cultural fit over in-house production expertise, they do acknowledge the advantages of working with a full-service partner. As Aardman's Efergan says, "With every additional link in a production the creative vision has more opportunities to get corrupted - the Chinese whisper effect that leaves an idea warped and further removed from its original intentions."
Travis adds that consistency is a boon of working with an agency with in-house film production skills. "It was beneficial to have input from Marcus [Jones, director of Red Bee] from day one, right through to filming and final edit. You get immediate ownership, improved communication and consistency from the start."
Unilever's Calverley is also quick to reel off the advantages. "Reduced expense, the ability to develop creative with an eye on production at all times, and a collaborative team with the same vision at all stages of the project."
Agencies that have recently launched specialist film units in an effort to capitalise on the online video boom are also, predictably, vocal about the benefits. AKQA's Hilton says, "Our in-house directors work hand in hand with our creative teams, bringing with them insight and familiarity with our clients' brands that an outside director may not have."
Simon Cam, head of Superglue, the digital film department of agency Glue, also believes its clients welcome the hand-in-hand approach. "Not many people are putting Flash developers, directors and post-production people in the same room and saying, 'Talk to each other constantly throughout the project.' It means we can achieve some of the more ambitious pieces we want to produce," he says.
Patrick Holtkamp, MD of online video agency Wax, agrees. "Our directors are our creative directors and the producers are the account directors. By doing this we're cutting huge layers of communication and we get the client talking and working directly with the people who make the campaign happen."
In-house limits
Efergan offers an alternative school of thought, believing that working with numerous good people from different sources can also serve to "magnify a project's outcome, not corrupt it".
There are certainly potential advantages to working with an agency that is forced to outsource film production. For example, an opportunity to find a better skill fit for specific projects, something that even Jens Bachem, MD of Digital Outlook and its film division Digital Outlook Studios, readily acknowledges. The company still calls on freelance skills to ensure each brief is met by the best people. Bachem believes this approach avoids one of the possible dangers of relying solely on in-house talent. "If an agency has hired a particular team of in-house directors or writers, then it'll be tempted to shoehorn them into a project, even if it's not 100% their style or skill."
Liz Smith, founder of production company Film38, supports this view. "Sub-contracting to specialists means you have more choice," she says. "You may be able to find a supplier better able to serve a certain brief, not to mention the fact that they're forced to be competitive in order to win business."
Most agencies that have launched specialist film arms do still dip into the freelance pool, but Bachem's point is a valid one, particularly when brands' budgets restrict how much additional outside expertise an agency can bring in. Hilton claims AKQA simply does whatever it needs to do. "We work with the most talented people in the industry, many of whom we're fortunate enough to have here at AKQA, but other times we go outside to use the skills of other individuals or production facilities."
Cam states that one of Glue's big aims when it launched Superglue was to remain flexible. "We wanted to foster in-house specialism but not at the expense of using third party suppliers. We might pull in live-action film work from someone who specialises in comedy, for example, then bolt on Superglue's post production and digital integration skills. It's about keeping it flexible and modular."
However the landscape pans out, it's valid to ask whether we might see decoupling in the world of digital advertising as brands begin working directly with production specialists rather than via creative agencies. It has been a huge debate in the world of traditional advertising, with agencies like Wax invited to speak to advertisers at a recent ISBA conference devoted to decoupling (see Opinion, page 31).
For digital, the jury is definitely still out, with brands less convinced than agencies. Aardman's Efergan believes that, as campaigns become more integrated, there will be a greater need for agencies to pull the different elements together and ensure a cohesive approach from different specialists working on the same project. Calverley agrees that the shift is unlikely. "We work with digital agencies on far more than films - they're just one aspect of a complex digital strategy," she says.
It's a view backed up by Film38's Smith, who says that most clients are looking for more than just film production, such as a communication strategy or tracking and analysis. "In those scenarios, I expect production to continue to be commissioned by agencies."
Fila's Travis is more open-minded. "It could definitely be the way things move forward. If there's good chemistry between the parties you can really make something that's strong and unexpected, which is what I believe we did with the White Line Fila Vintage film."
Positive outlook
The digital agencies that have already launched specialist units are understandably more positive that this is the future, and some are already working in this way. Holtkamp says the need to have a separate creative shop is no longer there, while Hilton says AKQA has always worked directly with its clients and its film division is no different. "It means none of the innovation and creativity are lost in translation."
The most outspoken is Andy Rogers, MD of eTV, which produces and distributes interactive video content. He says digital and TV will combine within the next five years, creating a new industry. "There will always be room in the marketplace for specialists, but the industry will be led by those willing to bring together and fully exploit both disciplines," he says. Indeed, research by Thinkbox and the Internet Advertising Bureau (IAB) in May showed that, already, using TV and online together in ad campaigns results in 47% more positivity about a brand than using either in isolation, while the likelihood of buying or using a product increases by more than 50% when the two channels are used together.
So maybe digital agencies already investing in film capability are simply anticipating what their slightly sceptical clients will demand in months to come.
Quick facts -- Brands don't view film production capabilities as key to a creative agency's armour, although they recognise the benefits -- Key advantages to having in-house film production are improved communication and consistency, reduced expense and brand familiarity -- Key advantages to outsourcing film production include sourcing skills specific to each project and, potentially, more competitive prices -- Research by Thinkbox and the IAB shows that using TV and online together in ad campaigns can result in 47% more positivity about a brand -- The research also shows that the likelihood of buying or using a product increases by more than 50% when the two channels are used together
Source: nma.co.uk
Samsung Supports Wannabe Musicians
Remember the days when budding musicians could only be heard by the masses once they had gone through the blood, sweat and tears of securing a record deal, getting airplay and finally appearing on Top of The Pops?
When social networking sites came along, it was like a fairy godmother had waved a magic wand. Suddenly up-and-coming artists had an outlet for their music and a direct way to communicate with their growing fan bases.
Now Samsung has gone one step further by teaming up with Facebook, MySpace and Bebo to offer four bands the chance to have their music featured in an ad campaign for its F400 handset. In an app created by Techlightenment - which launched simultaneously across the three sites as well as at www.f400share.com - hopefuls can upload a short clip of music for others to listen to and vote for their favourite. The winning clip will become the sound-track on the F400’s radio and online ad campaign, which launches in the summer.
This strategy short-circuits the usual way in which soundtracks are chosen for ads which has traditionally involved agencies and record companies. For instance, London Calling founder and former director of music, TV and advertising at Universal Music, Tracie London-Rowell, was behind some legendary link-ups, including Leftfield’s (then unreleased track) Phat Planet on Guinness ‘surfer’. And BBH catapulted Make Luv, a track by Room 5 featuring Oliver Cheetham, into the number one spot after putting it at the heart of an integrated campaign for Lynx Pulse. By leaving it up to the consumers to vote for their favourite track, Samsung is entrusting them with a key decision in their advertising that could infuse the brand with kudos (think what The Dandy Warhols did for Vodafone - and vice versa - when Bohemian Like You became ‘the Vodafone song’). What’s more, in a summer
Where mobile operators and handset brands are all over an ever-chronic epidemic of music festivals, Samsung deserves a definite thumbs-up for trying something different www.f400share.com
Source: Contagious
When social networking sites came along, it was like a fairy godmother had waved a magic wand. Suddenly up-and-coming artists had an outlet for their music and a direct way to communicate with their growing fan bases.
Now Samsung has gone one step further by teaming up with Facebook, MySpace and Bebo to offer four bands the chance to have their music featured in an ad campaign for its F400 handset. In an app created by Techlightenment - which launched simultaneously across the three sites as well as at www.f400share.com - hopefuls can upload a short clip of music for others to listen to and vote for their favourite. The winning clip will become the sound-track on the F400’s radio and online ad campaign, which launches in the summer.
This strategy short-circuits the usual way in which soundtracks are chosen for ads which has traditionally involved agencies and record companies. For instance, London Calling founder and former director of music, TV and advertising at Universal Music, Tracie London-Rowell, was behind some legendary link-ups, including Leftfield’s (then unreleased track) Phat Planet on Guinness ‘surfer’. And BBH catapulted Make Luv, a track by Room 5 featuring Oliver Cheetham, into the number one spot after putting it at the heart of an integrated campaign for Lynx Pulse. By leaving it up to the consumers to vote for their favourite track, Samsung is entrusting them with a key decision in their advertising that could infuse the brand with kudos (think what The Dandy Warhols did for Vodafone - and vice versa - when Bohemian Like You became ‘the Vodafone song’). What’s more, in a summer
Where mobile operators and handset brands are all over an ever-chronic epidemic of music festivals, Samsung deserves a definite thumbs-up for trying something different www.f400share.com
Source: Contagious
Pathé launches campaign for Adulthood film
Pathé, the film distributor, is launching a multimedia ad campaign today to support the launch of Adulthood, which opens in cinemas on 20 June. Targeting an urban audience of 16 to 24-year olds, the British film written, directed and starring Noel Clarke (famous for roles in Dr Who and Auf Wiedersehen Pet), is the sequel to the critically acclaimed 2006 film, Kidulthood.
It will be promoted through a traditional TV, print and outdoor ad campaign created by All City Media and accompanied by online activity that includes the company’s biggest-ever social media campaign.
Both off-and online media planning and buying has been handled by Havas-owned Arena BLM.
Unique content and private screenings of the film will be offered via Facebook. Once users sign up as ‘fans’ of the film they are sent updates on new content plus competitions to win tickets to screenings and the premiere via text and video ads in personal news feeds.
Laura Langthorne, account manager at Arena BLM, said: “To reach this young, urban “street” audience we needed to use media that was relevant to them – we couldn’t just rely on standard “film advertising formats” such as 6 sheets and press ads.
“The highly targeted integrated campaign has pinpointed urban youth and the online element has encouraged this audience to get involved and to create that all important buzz and anticipation before the film is even released.”
The TV campaign breaks on 16 June across satellite and cable channels, targeting music and youth-focused broadcasters across E4, Sky One, MTV, Virgin 1, and Trouble. Ads will run during programmes popular with the demographic, including Pimp My Ride, Skins, Big Brother and relevant films.
In addition, postcards will be distributed in ‘Don’t Panic’ packs handed out to university students across the UK, along with ads in specialist music magazines such as Touch and Hip Hop Connection. Ads will also run in Time Out and the London Paper and selected nationals.
The outdoor campaign uses JC Decaux’s streetalk phone boxes in major conurbations which are targeted to high youth concentrated areas such as skate parks, JD sports retailers, music venues and cinemas.
To keep with the urban theme Fly posters are planned around major music venues such as Brixton Academy, Old Street, Highgate Road and Shepherds Bush.
Source: mad.co.uk
UK is fastest growing bottled-water market
British consumers have been drinking bottled water at a faster rate than any other European country over the past five years, according to a report by independent market analyst Datamonitor. However, the UK lags behind Italy, France and Spain in terms of overall volume.
On average, British people drank 41 litres per person in 2007, which represents a compound annual growth rate of 8% between 2002 and 2007 - the fastest in Europe. Datamonitor predicts this will rise to 57.8 litres by 2012.
Per capita consumption is highest in countries where the drinking of bottled water is more established, such as Italy, at 234 litres per person per year, France (142.5 litres) and Spain (143.2 litres).
The increase comes despite environmental concerns associated with bottled water, and high-profile campaigns such as The Evening Standard's Water on Tap scheme to make tap water freely available in London restaurants and bars.
Datamonitor consumer markets analyst Nick Beevors says bottled water is chosen in favour of soft drinks, rather than tap water. He says: "It is growing in popularity as people choose it over other soft drinks because it does not contain calories, caffeine, or artificial colours."
Taken from somewhere, but I can't remember where
On average, British people drank 41 litres per person in 2007, which represents a compound annual growth rate of 8% between 2002 and 2007 - the fastest in Europe. Datamonitor predicts this will rise to 57.8 litres by 2012.
Per capita consumption is highest in countries where the drinking of bottled water is more established, such as Italy, at 234 litres per person per year, France (142.5 litres) and Spain (143.2 litres).
The increase comes despite environmental concerns associated with bottled water, and high-profile campaigns such as The Evening Standard's Water on Tap scheme to make tap water freely available in London restaurants and bars.
Datamonitor consumer markets analyst Nick Beevors says bottled water is chosen in favour of soft drinks, rather than tap water. He says: "It is growing in popularity as people choose it over other soft drinks because it does not contain calories, caffeine, or artificial colours."
Taken from somewhere, but I can't remember where
Wednesday 4 June 2008
Don't forget the old folk!
The mature market is being neglected and misrepresented by marketers, with over 60 per cent of the over 50s believing that advertising aimed at them presents them as infirm or immobile.
New research commissioned by mature marketing agency Millennium showed that three quarters of over 50s think that the only products specifically targeted at them are life assurance products, false teeth and incontinence plans.
More than half (59 per cent) of the over 50s claimed that today’s marketing did not target them and was irrelevant, rising to 65 per cent among the over 65s.
New research commissioned by mature marketing agency Millennium showed that three quarters of over 50s think that the only products specifically targeted at them are life assurance products, false teeth and incontinence plans.
More than half (59 per cent) of the over 50s claimed that today’s marketing did not target them and was irrelevant, rising to 65 per cent among the over 65s.
The research also showed that online marketing is viewed as the most influential channel among the over 50s, and that only 39 per cent claim to be brand loyal when shopping.
Millennium managing director Fiona Hought says: “The over 50s have grown wise to marketing techniques. The research indicates that the influences of the mature market are changing, but it seems marketers are failing to adapt and communicate effectively, if at all, to cash in on the ‘grey pound’. Marketers need to focus efforts on using the right channels to present clear and targeted messages to attract potential consumers.”
..pinched from Precision Marketing
News on Youth
Almost three-quarters want to know the news, with 51% of the 1,000 respondents surveyed at the start of May saying it was important and 23% saying it was very important. Meanwhile 25% of female respondents said news was not very important.
Q Research has just completed a survey of news consumption among 11-25-year-olds on our mobile phone panel. We wanted to understand how important news is to young people and which sources they use. In particular, we wanted to assess how much this generation relies on the internet and mobile phones to access the news rather than the traditional sources of newspapers, TV and radio. Liam Corcoran, MD of Q Research discusses the findings.
Almost three-quarters want to know the news, with 51% of the 1,000 respondents surveyed at the start of May saying it was important and 23% saying it was very important. Meanwhile 25% of female respondents said news was not very important.
Respondents were asked to select all their sources of news. TV topped the list at 85%, followed by newspapers at 66% of respondents. News websites (excluding those of newspapers) and radio were a tied choice at 46%. Just 28% said that they use newspaper websites, less than those who read magazines for the news (31%).
There are key differences in media choice by age and gender. The older the respondents, the more likely they are to use digital for their news. While TV is the top choice for all age groups, respondents aged 21-25 are most likely to use newspaper websites - 44%, compared to 28% of 16-20-year-olds and only 16% for 11-16-year-olds. However, the younger respondents are using other news sites, with 46% of 16-20-year-olds and 42% of 11-16-year-olds logging on. Of our 21-25-year-old respondents, 19% have headlines delivered via their mobile phone, almost twice the number of the younger respondents.
Men are more likely to get news via their mobile phone. This is a trend we've seen in past surveys, where women are less likely to download content on their mobiles. The men in our survey were more likely to cite digital sources as their preferred news source, with internet and TV neck and neck. The women were more attracted to traditional media, with more selecting radio and newspapers as their favourite.
These results challenge a widespread assumption that young people have little interest in news. Young men especially are avid consumers and many will pay for instant news on their mobile.
..again, stolen...but unsure where from
Q Research has just completed a survey of news consumption among 11-25-year-olds on our mobile phone panel. We wanted to understand how important news is to young people and which sources they use. In particular, we wanted to assess how much this generation relies on the internet and mobile phones to access the news rather than the traditional sources of newspapers, TV and radio. Liam Corcoran, MD of Q Research discusses the findings.
Almost three-quarters want to know the news, with 51% of the 1,000 respondents surveyed at the start of May saying it was important and 23% saying it was very important. Meanwhile 25% of female respondents said news was not very important.
Respondents were asked to select all their sources of news. TV topped the list at 85%, followed by newspapers at 66% of respondents. News websites (excluding those of newspapers) and radio were a tied choice at 46%. Just 28% said that they use newspaper websites, less than those who read magazines for the news (31%).
There are key differences in media choice by age and gender. The older the respondents, the more likely they are to use digital for their news. While TV is the top choice for all age groups, respondents aged 21-25 are most likely to use newspaper websites - 44%, compared to 28% of 16-20-year-olds and only 16% for 11-16-year-olds. However, the younger respondents are using other news sites, with 46% of 16-20-year-olds and 42% of 11-16-year-olds logging on. Of our 21-25-year-old respondents, 19% have headlines delivered via their mobile phone, almost twice the number of the younger respondents.
Men are more likely to get news via their mobile phone. This is a trend we've seen in past surveys, where women are less likely to download content on their mobiles. The men in our survey were more likely to cite digital sources as their preferred news source, with internet and TV neck and neck. The women were more attracted to traditional media, with more selecting radio and newspapers as their favourite.
These results challenge a widespread assumption that young people have little interest in news. Young men especially are avid consumers and many will pay for instant news on their mobile.
..again, stolen...but unsure where from
BBC iPlayer + tips on VOD
More than 42 million programmes have been accessed via the BBC's iPlayer since its launch on Christmas Day 2007, and in March viewing figures were up 25 percent on the previous month. iPlayer's popularity was further confirmed with its recent launch on Nintendo's Wii games console. Phil Fearnley, director, HUGE Entertainment explains more.
This overwhelming success has resulted in video-on-demand (VOD) both coming to the public's attention and being hailed as ‘the next big thing’. As a result, there has been a rush of interested parties - from media platforms to content owners - wanting to jump on the VOD bandwagon.
As an on-demand digital entertainment specialist, HUGE Entertainment, believes that there is now a massive opportunity for content owners to create their own offerings to distribute via PC, TV and mobile. However, we also argue that many of these players do not have the know-how to make a real success of their proposition.
Here, we offer our advice on getting it right when it comes to VOD.
1. Consumers don't care about technology
The majority of people aren't interested in how something works, they just want to know that it does. So don't bombard consumers with a complex feat of engineering – just make sure that your offering is easy to use.
2. Make it pretty
Following on from point one, you need to ensure the consumer's experience is a good one to encourage them to pay for content, either via a subscription service or pay-per-view. This means that, as well as being easy to navigate, the user interface needs to be visually enticing.
3. Be a retailer
VOD players need to think like high street retailers in terms of what content is provided, where it is displayed and how it is promoted. To encourage consumers to return, there always has to be something new and fresh available, at the same time as older material being easily accessible.
4. Don't make lists
Access to content should not take the form of endless lists that consumers need to scroll through to find what they want. Referencing the retailer analogy above, shops don't line up products in alphabetical order – neither should VOD operators.
5. Is it free?
To encourage a longterm relationship with consumers be clear about what content is free and what they must pay to access.
6. Get viral
VOD is still a very new concept. Many people have not yet experienced it, and it is complex to explain briefly. Significant amounts have been spent on advertising to promote services, but results to date have been mixed. Instead VOD players should focus on word-of-mouth endorsement, confident in the knowledge that, if they have put the points above into place, once consumers do try the service they will use it.
7. Brave new advertising world
VOD offers opportunities for new advertising models that are a world away from the low engagement, 'interruption marketing' of today's TV arena. You need to maximise these and be ready to generate new revenue from day one. How can you tailor your offerings for specific audiences? How can you interact with users to better engage with them? Do your homework and be prepared.
8. No constants
These are still very early days. Viewer behaviour is changing rapidly, and will continue to do so. You need to monitor what is happening and ensure that you stay one step ahead in order to remain appealing to consumers and relevant for advertisers.
9. Beware of sharks
Global technology companies are investing significant sums to establish content delivery devices for the home and terrestrial TV channels are also spending large amounts on VOD applications. Everyone is vying for a direct relationship with the subscriber. If a deal with a third party looks too good to be true, it probably is – and will be likely to remove you one step too far from your customers, which in turn can be detrimental to advertising potential.
10. You only get one chance
VOD is a killer application – people like it and are already demonstrating their appetite for using it. But you only get one chance to make a lasting impact on peoples’ perceptions – your launch is therefore critical, so get it right.
..article unashamedly stolen from mad.co.uk
This overwhelming success has resulted in video-on-demand (VOD) both coming to the public's attention and being hailed as ‘the next big thing’. As a result, there has been a rush of interested parties - from media platforms to content owners - wanting to jump on the VOD bandwagon.
As an on-demand digital entertainment specialist, HUGE Entertainment, believes that there is now a massive opportunity for content owners to create their own offerings to distribute via PC, TV and mobile. However, we also argue that many of these players do not have the know-how to make a real success of their proposition.
Here, we offer our advice on getting it right when it comes to VOD.
1. Consumers don't care about technology
The majority of people aren't interested in how something works, they just want to know that it does. So don't bombard consumers with a complex feat of engineering – just make sure that your offering is easy to use.
2. Make it pretty
Following on from point one, you need to ensure the consumer's experience is a good one to encourage them to pay for content, either via a subscription service or pay-per-view. This means that, as well as being easy to navigate, the user interface needs to be visually enticing.
3. Be a retailer
VOD players need to think like high street retailers in terms of what content is provided, where it is displayed and how it is promoted. To encourage consumers to return, there always has to be something new and fresh available, at the same time as older material being easily accessible.
4. Don't make lists
Access to content should not take the form of endless lists that consumers need to scroll through to find what they want. Referencing the retailer analogy above, shops don't line up products in alphabetical order – neither should VOD operators.
5. Is it free?
To encourage a longterm relationship with consumers be clear about what content is free and what they must pay to access.
6. Get viral
VOD is still a very new concept. Many people have not yet experienced it, and it is complex to explain briefly. Significant amounts have been spent on advertising to promote services, but results to date have been mixed. Instead VOD players should focus on word-of-mouth endorsement, confident in the knowledge that, if they have put the points above into place, once consumers do try the service they will use it.
7. Brave new advertising world
VOD offers opportunities for new advertising models that are a world away from the low engagement, 'interruption marketing' of today's TV arena. You need to maximise these and be ready to generate new revenue from day one. How can you tailor your offerings for specific audiences? How can you interact with users to better engage with them? Do your homework and be prepared.
8. No constants
These are still very early days. Viewer behaviour is changing rapidly, and will continue to do so. You need to monitor what is happening and ensure that you stay one step ahead in order to remain appealing to consumers and relevant for advertisers.
9. Beware of sharks
Global technology companies are investing significant sums to establish content delivery devices for the home and terrestrial TV channels are also spending large amounts on VOD applications. Everyone is vying for a direct relationship with the subscriber. If a deal with a third party looks too good to be true, it probably is – and will be likely to remove you one step too far from your customers, which in turn can be detrimental to advertising potential.
10. You only get one chance
VOD is a killer application – people like it and are already demonstrating their appetite for using it. But you only get one chance to make a lasting impact on peoples’ perceptions – your launch is therefore critical, so get it right.
..article unashamedly stolen from mad.co.uk
Round-up 05//06//08
JUST NICE STUFF
Manchester agency, Love Creative won an award for this rather nice digital campaign inviting people to design their own DM boots. Some really beautiful photography. A clever truck-side campaign for Dodge Challenger
YOOF
An interesting article from Mobile Youth reminding us that all kids really think about when considering a product is, a) Is it cheap?, b) Do my friends use it? + c) Will it help me get laid? And here are loads of insightful on-the-street interviews investigating how youth feels about mobile brands + other youth brands. Here’s a nice account of the recent Mobile Youth Marketing Workout. Almost ¾ of 11-25 year olds want to know the news, with 51% saying it’s important and 23% saying it was very important. Meanwhile 25% of female respondents said news was not very important. Full article.
TELECOMMS
Fun, new Nokia ad from W+K called 'Dance'. Free Nintendo Wii at mobiles.co.uk. Sony Ericsson launches c702 cybershot.
WRINKLIES
Old people are feeling left out!! An outrage! Research shows that ¾ of over 50s think that the only products specifically targeted at them are life assurance products, false teeth and incontinence plans. Yet they have cash, time + are increasingly savvy, active and adventurous. Full article. And just to re-affirm that point
DIGITAL + INNOVATION
One for Nada - RSS toilet paper. Radiohead is running a competition to create an animated video for their Weird Fishes track giving the winner $1,000 and 3 runner up prizes of golden tickets at their gigs. View and rate the entries here. And here’s a particularly cool entry. Minority report-style computer technology just around the corner. Orange launches a digital radio device. Qype, a user-generated review site for everything from the Electric Cinema to the Costa Coffee in Newhaven has gone down a storm with 750k registered users in less than a year and over 30,000 user reviews added to date driven by tie-ups and comps from the likes of Virgin Atlantic. Are they kidding? – Gameboy platforms
BBC iPlayer factoids - More than 42 million programmes have been accessed via the BBC's iPlayer since its launch on Christmas Day 2007, and in March viewing figures were up 25 percent on the previous month. Click here for full article and 10 top tips on VOD.
GREEN
How green are you? This National Geographic Greendex calculator will tell you. My score is 64 – which is even better than Brazil! Full green survey here too.
RETAIL
Retail windowspace done wrong..and by Nokia, oops
ONE FOR TOM London’s best deli’s and food shops
ONE FOR LEE Other Music Weekly Chart
..and here's a place you can create digital mixtapes and send them to your friends, ahh!
ANOTHER FOR NADA Stokefest. And secret sources tell me that the Strictly Come Barn Dance will be there!
EXTRA-CURRICULAR ACTIVITIES
17 people were arrested during circle line cocktail party. Smithfield Nocturne – something to do with bikes, pin-stripe suits + Smithfields. Warm-up your vocal chords - Karokebox is coming to Smithfield, wooo. Prohibition – Bugsy Malone style 1920’s night out serving Hendricks Gin in teapots..amazing!
Manchester agency, Love Creative won an award for this rather nice digital campaign inviting people to design their own DM boots. Some really beautiful photography. A clever truck-side campaign for Dodge Challenger
YOOF
An interesting article from Mobile Youth reminding us that all kids really think about when considering a product is, a) Is it cheap?, b) Do my friends use it? + c) Will it help me get laid? And here are loads of insightful on-the-street interviews investigating how youth feels about mobile brands + other youth brands. Here’s a nice account of the recent Mobile Youth Marketing Workout. Almost ¾ of 11-25 year olds want to know the news, with 51% saying it’s important and 23% saying it was very important. Meanwhile 25% of female respondents said news was not very important. Full article.
TELECOMMS
Fun, new Nokia ad from W+K called 'Dance'. Free Nintendo Wii at mobiles.co.uk. Sony Ericsson launches c702 cybershot.
WRINKLIES
Old people are feeling left out!! An outrage! Research shows that ¾ of over 50s think that the only products specifically targeted at them are life assurance products, false teeth and incontinence plans. Yet they have cash, time + are increasingly savvy, active and adventurous. Full article. And just to re-affirm that point
DIGITAL + INNOVATION
One for Nada - RSS toilet paper. Radiohead is running a competition to create an animated video for their Weird Fishes track giving the winner $1,000 and 3 runner up prizes of golden tickets at their gigs. View and rate the entries here. And here’s a particularly cool entry. Minority report-style computer technology just around the corner. Orange launches a digital radio device. Qype, a user-generated review site for everything from the Electric Cinema to the Costa Coffee in Newhaven has gone down a storm with 750k registered users in less than a year and over 30,000 user reviews added to date driven by tie-ups and comps from the likes of Virgin Atlantic. Are they kidding? – Gameboy platforms
BBC iPlayer factoids - More than 42 million programmes have been accessed via the BBC's iPlayer since its launch on Christmas Day 2007, and in March viewing figures were up 25 percent on the previous month. Click here for full article and 10 top tips on VOD.
GREEN
How green are you? This National Geographic Greendex calculator will tell you. My score is 64 – which is even better than Brazil! Full green survey here too.
RETAIL
Retail windowspace done wrong..and by Nokia, oops
ONE FOR TOM London’s best deli’s and food shops
ONE FOR LEE Other Music Weekly Chart
..and here's a place you can create digital mixtapes and send them to your friends, ahh!
ANOTHER FOR NADA Stokefest. And secret sources tell me that the Strictly Come Barn Dance will be there!
EXTRA-CURRICULAR ACTIVITIES
17 people were arrested during circle line cocktail party. Smithfield Nocturne – something to do with bikes, pin-stripe suits + Smithfields. Warm-up your vocal chords - Karokebox is coming to Smithfield, wooo. Prohibition – Bugsy Malone style 1920’s night out serving Hendricks Gin in teapots..amazing!
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