Creative Effectiveness Lions honour creativity which has shown a measurable and proven impact on a client's business - creativity that affects consumer behaviour, brand equity, sales, and where identifiable, profit.
Creative Effectiveness Lions honour creativity which has shown a measurable and proven impact on a client's business - creativity that affects consumer behaviour, brand equity, sales, and where identifiable, profit.
The thinning, tenuous line forming between branded YouTube content and traditional television commercials was once again the subject of debate at a VidCon panel Saturday at the Anaheim Convention Center.
On one hand, the star-studded YouTube panel believed brands support the creation of content. On the other hand, some panelists expressed a desire for a future where content can be sustained without much advertising. But whether that future can become a reality is a toss-up, and much of it depends on the fans.
"'Good Mythical Morning' is sustainable without brand integration," said Rhett James McLaughlin of "Rhett & Link," a YouTube channel with more than 2 million subscribers. "Good Mythical Morning" has a separate channel with 2.5 million subscribers and is a weekday morning talk show.
"I am very interested in our future not being as tied to brands," said Link Neal, the other half of the duo.
But Ze Frank, executive vice president of video at BuzzFeed.com, said the futures of online video was inextricably tied to brands.
"Couldn't we imagine a future where brands understand there's value in serving audiences great content?" Frank said. "There's people recognizing that brand integration is a part of life. I think there is a future where both sides get served."
However, Frank added, over-branded content has "little to no cultural value," and is "degrading that future."
NEW YORK: PepsiCo, the food and beverage giant, believes that "branded entertainment" must focus on promoting enjoyment among consumers first and marketing messages second if it is to make an impact.
Frank Cooper III, PepsiCo's chief marketing officer/global consumer engagement, discussed this subject at the 2014 Mobile Media Upfront, an event held in New York as part of Internet Week.
While the company has a "rich legacy" in areas like music and television – ranging from partnerships with pop star Michael Jackson to reality series The X Factor – that does not guarantee its future success, he reported.
"People really don't care about the history of the brand in and of itself; or the history of the players in the music space, the entertainment space or the content space," said Cooper. (For more, including how the role of the agency is changing, read Warc's exclusive report: PepsiCo enhances its in-house content skills.)
"All they really care about is: are you delivering today something that is meaningful to me? Are you generating something that really works for my life?"
In attempting to "translate" its expertise in affiliating with existing properties into creating new content, PepsiCo's focus is necessarily shifting away from simply how to best compete with rival brands.
Today, the competitive set extends to other marketers, media companies and even individuals, all of which are seeking to capture the attention of consumers on channels such as mobile and social.
"Now it's a question of how do you then take that, and put it in this space, and compete with the best entertainment that's out there," said Cooper.
"You almost need to put parentheses around 'branded' and just call it 'entertainment', because if it doesn't compete with the other entertainment that's out there, it doesn't really matter."
"That's the level that I think we want to play on and we're trying to play on."
One example of this is Pepsi Pulse, a digital hub providing content and updates related to music, entertainment and pop culture. This platform now operates in 75 countries, Cooper asserted.
"It sits online primarily now," he added. "We want to evolve that to the mobile space. And we think that's going to unlock some real possibilities."
Data sourced from Warc
source of article : http://www.beet.tv/2014/05/brand.html#.U5yLXDqpQhM.twitter
LONDON – Mirroring the rapid growth of content created for and by brands, there has been a surge in award submissions in the category of ”branded entertainment.” It is “exploding out of all proportion,” says Philip Thomas, CEO of Cannes Lions in this interview with Beet.TV
In this conversation, Thomas charts the evolution of Cannes Lions from principally an advertising agency fest to broadly embrace media and technology. This year will mark the first time there will be a sizable presence by venture capitalists including the noted Silicon Valley investors Ron Conway and Ben Horowitz, Thomas says.
LAS VEGAS, Jun 17, 2014 (BUSINESS WIRE) -- Hasbro, Inc. HAS +0.05% will land at the 2014 International Licensing Expo in Las Vegas today with its premier roster of global franchise brands that underscore how the company is revolutionizing play through rich and immersive story telling platforms. The company will spotlight new and innovative products and entertainment based on key brands including TRANSFORMERS, MY LITTLE PONY, LITTLEST PET SHOP, NERF, PLAY-DOH, MAGIC: THE GATHERING and MONOPOLY. This year’s showcase illustrates innovation across multiple entertainment mediums including Film, TV, Digital Shorts, Publishing and Digital Gaming which then drives innovative product across multiple categories including toy, apparel, housewares and sporting goods.
“Hasbro continues to evolve its brand franchises in new ways that bring play and lifestyle experiences to life through storytelling,” said Simon Waters, Senior Vice President, Global Brand Licensing and Publishing at Hasbro. “With our Omni-screen strategy, branded storytelling across major entertainment platforms has really struck a chord with our consumers – to the tune of 8 billion impressions globally through our episodic content. We’ve strategically integrated narratives through our iconic characters and brands that continue to resonate worldwide.”
Following are Hasbro brands that will be on display at the show:
The TRANSFORMERS brand celebrates the 30th Anniversary in 2014 with storytelling for fans of all ages. Strong brand momentum continues with the June 27 release of Michael Bay’s TRANSFORMERS: AGE OF EXTINCTION from Paramount Pictures. The blockbuster film is supported by global licensees from New Era, Frito Lay and Oreo with global retail support from Benetton, Walmart, Tesco and Carrefour. TRANSFORMERS merchandise will arrive on shelves as part of 20 new retail programs with 14 fashion collections and eight direct-to-retail deals with La Polar, Ripley’s and St. Jacks across Latin American territories.
In addition to the silver screen entertainment, TRANSFORMERS entertainment will also land on television screens this fall, on the Hub Network in the US, with the new season premiere of TRANSFORMERS Rescue Bots. TRANSFORMERS fans will also be excited to learn of the new animated series, produced by Hasbro Studios, Robots in Disguise, in which BUMBLEBEE is summoned by OPTIMUS PRIME to save Earth from a new fraction of DECEPTICONS.
More than 300 licensees will support the brand across all categories including apparel with companies like New Era Cap; and home goods bedding from Franco Mfg. Hasbro has also reached a preliminary agreement in principle to continue its party goods license with American Greetings. IDW Publishing’s flagship TRANSFORMERS titles, “DARK CYBERTRON” comic issues will also be available bundled with Hasbro’s TRANSFORMERS GENERATIONS Deluxe toy line. Digital entertainment by game publishers including Activision Publishing, Inc. will launch TRANSFORMERS: RISE OF THE DARK SPARK in June to coincide with release the summer blockbuster movie from Paramount Pictures. Additionally, DeNA will release TRANSFORMERS: AGE OF EXTINCTION – The Official Mobile Game and later this year Jagex Games Studio will roll out TRANSFORMERS UNIVERSE, the much anticipated, free-to-play Massively Online Tactical Action game.
Officially announced on Monday, Rovio Entertainment and Hasbro have teamed up to launch the next entertainment brand mash-up - Angry Birds Transformers. The Angry Birds Transformers property is preparing to “Roll Out” across multiple platforms this fall with games, animation, consumer products, promotions and more sure to delight fans of all ages.
MY LITTLE PONY
The MY LITTLE PONY franchise remains a cherished brand worldwide by fans of all ages. Behind a successful global entertainment, licensing and retail strategy which re-launched the brand in 2010, MY LITTLE PONY has grown to represent approximately $650 million dollars at retail across all consumer products in 2013. Its popularity is boosted by the successful hit animated series My Little Pony Friendship is Magic, produced by Hasbro Studios and airing in 180 territories. The series will kick off its fifth season this fall in the US. In 2013, Hasbro grew both the core MY LITTLE PONY segment as well as successfully launched MY LITTLE PONY EQUESTRIA GIRLS. According to NPD, for the week of Christmas (Dec 22nd to Dec 28th) Hasbro’s EQUESTRIA GIRLS was the #1 selling Fashion Themed Doll in the US, taking the top spot from veteran players in the toy category. In 2014 music rules and rainbows rock as TWILIGHT SPARKLE and pals complete for the top spot in the CANTERLOT HIGH “Mane Event” talent show. The girls must rock their way to the top, and outshine rival ADAGIO DAZZLE and her band THE DAZZLINGS, to restore harmony back to CANTERLOT HIGH. Fans can rock out alongside their favorite MY LITTLE PONY EQUESTRIA GIRLS characters with colorful fashion dolls, playsets, and vehicles inspired by the new animated film set to debut this fall, My Little Pony Equestria Girls Rainbow Rocks.
The rich brand storytelling of MY LITTLE PONY and its cast of characters led to a vast array of consumer products, promotions and corresponding retail programs. McDonalds will launch MY LITTLE PONY-branded Happy Meal programs in multiple countries across the globe this year, while retailers from Build-A-Bear to Target, Walmart, Benetton, Hot Topic and Leader will support the MY LITTLE PONY brand with an array of retail programs. In addition, Hasbro has 30-plus publishing licensees worldwide producing more than 200 new publications in 2014 such as The Journal of the Two Sisters, The Daring Do Adventure Collection, and the Friendship is Magic Collectible Poster Book published by Little, Brown Books for Young Readers.
On the digital front, Gameloft will continue to deliver new ways to play the MY LITTLE PONY game with fresh entertainment themed updates throughout 2014. The MY LITTLE PONY and MY LITTLE PONY Equestria Girls brand will also see direct-to-retail support with programs launching throughout Latin America at retailers including St. Jacks, Walmart, Ripley’s, La Polar and Exito.
LITTLEST PET SHOP
The LITTLEST PET SHOP brand continues to build a strong following, with expanding distribution and growing global audiences of the popular LITTLEST PET SHOP animated television series, produced by Hasbro Studios. The show is entering its second season across Europe, with Latin America following in Q4, and with Season 3 currently airing on the HUB Network in the US and on-deck for Europe in early 2015.
Leveraging fans’ interest in the collectability of the pets, Hasbro has taken that appeal to the next level with products that allow girls to design their own LITTLEST PET SHOP world, their way, with customizable style sets, figurines and over 140 new pets inspired by the animated series. Customization will also be front-and-center in this summer’s new LITTLEST PET SHOP Your World integrated play app, which allows fans to bring their pet to life digitally by scanning the code included on each regular scale pet in the line. Fans can accessorize their pets and rooms of their pet shop and can also play a variety of fun activities and mini-games.
The brand will continue to turn pages with traditional publishers such as IDW, with plans to expand the new LITTLEST PET SHOP comic book series which launched in May 2014. Scholastic will continue the release of the first entertainment-based chapter book series. Additionally, the brand has expanded their existing publishing footprint in Europe with six new licensees signed on in 2014.
In Latin America, LITTLEST PET SHOP will see expanded reach with branded apparel and sporting goods through direct-to-retail deals with Ripley’s and St. Jacks, as well as first-time ever regional QSR deals with Habib’s and Popsy. Globally, fans can catch their favorite pets with a new Happy Meal program in many key markets with McDonald’s this year.
Forty-five years after the original NERF Foam Ball revolutionized the world of play, the NERF brand isn’t even close to calling the game. The NERF brand introduces a number of incredible blaster firsts inspired by its passionate fan base and a drive for continuous innovation. With a strong focus on improved power, speed, distance and accuracy, the 2014 N-STRIKE ELITE line delivers the performance and excitement that NERF fans have come to expect since the brand began in 1969 -- It’s NERF or Nothin’! Driving the momentum behind the No. 1 blaster property, Hasbro is working with its strategic licensees to creatively reach consumers with innovative licensed goods and experiences on a variety of levels. Inspired by current pop culture trends and based on insight from girls, the NERF REBELLE brand is designed to empower players with confidence, high performance action and a stylish edge and targeting key strategic categories to leverage the lifestyle expansion of the brand. Furry NERF fans will also see the NERF Dog line expand around the world featuring a variety of new fetch and retrieve toys. In addition, Hasbro will look to broaden its experiential NERF mall program in the U.S. and Europe.
For over 50 years, the PLAY-DOH branded modeling compound has become a classic brand for kids of all ages in homes and schools around the globe encouraging colorful, creative play. The iconic modeling compound has been a childhood rite of passage and is responsible for ‘molding’ creative minds of millions of young artists and sculptors. Licensing continues to expand in 2014 with Hasbro reaching an agreement with Cencosud, a Chilean multinational retailer, to deliver a broad range of PLAY-DOH arts and crafts products including crayons, coloring pencils finger paints and stationary sets along with creative, entertaining, and educational books from Silver Dolphin. The fun with further extend as the PLAY-DOH brand introduces the DOHVINCI art and design kits, an entirely new art experience featuring an all-new design compound and innovative Styler tool for kids 6-14. Creativity will pop off the page as kids create their own 3D art designs with this highly intuitive and unique creative experience. Pop your favorite color into the Styler and squeeze to easily create your own beautiful 3D art design that sticks to surfaces such as wood, glass, paper and more.
MAGIC: THE GATHERING
Hasbro’s MAGIC: THE GATHERING now has a following of more than 20 million players and fans worldwide. The best strategy game ever and Hasbro’s number one game brand is supported by a unique blend of digital game play and face-to-face play opportunities in more than 6,800 hobby game stores around the world, offering a robust gaming experience for its global community of passionate fans. The brand is also supported by a range of entertainment experiences with books, comics and now film. Twentieth Century Fox and Hasbro are joining forces to develop a series of films based on the fantasy property and its endless worlds, characters and mythology. Licensing will continue to expand as Araca will be selling a broad range of MAGIC: THE GATHERING apparel on line and at specialty retailers and Funko is launching the MAGIC: THE GATHERING Planeswalker figures for their popular Pop! Vinyl Figures and new Legacy Collection Action Figures lines.
A perennial favorite in the family chest, the MONOPOLY game has been played by more than one billion people in 111 countries around the world and touts more than 11.4 million global Facebook fans. Given its popularity, Hasbro and its licensees continue to deliver experiences to fit every lifestyle. The MONOPOLY brand will also return to McDonald’s in over 20 countries worldwide. The MONOPOLY brand grew its presence in grocery aisles this spring by expanding its “MONOPOLY’S loyalty program, “Shop. Play. Win.” at Albertsons grocery stores throughout the US. The brand continues to soar as the No. 1 licensed lottery game in the world as evidenced by the Multi-State Lottery Association (MUSL) announced that member lotteries are slated to launch a highly anticipated new national premium game later this year -- MONOPOLY Millionaires’ Club.
Hasbro, Inc. HAS +0.05% is a branded play company dedicated to fulfilling the fundamental need for play for children and families through the creative expression of the Company’s world class brand portfolio, including TRANSFORMERS, MONOPOLY, PLAY-DOH, MY LITTLE PONY, MAGIC: THE GATHERING, NERF and LITTLEST PET SHOP. From toys and games, to television programming, motion pictures, digital gaming and a comprehensive licensing program, Hasbro strives to delight its global customers with innovative play and entertainment experiences, in a variety of forms and formats, anytime and anywhere. The Company's Hasbro Studios develops and produces television programming for more than 180 territories around the world, and for the U.S. on Hub Network, part of a multi-platform joint venture between Hasbro and Discovery Communications DISCA -0.13% DISCB -5.73% DISCK -0.30% . Through the company's deep commitment to corporate social responsibility, including philanthropy, Hasbro is helping to build a safe and sustainable world for future generations and to positively impact the lives of millions of children and families every year. It has been recognized for its efforts by being named one of the "World's Most Ethical Companies" and is ranked as one of Corporate Responsibility Magazine's "100 Best Corporate Citizens." Learn more at www.hasbro.com .
© 2014 Hasbro, Inc. All Rights Reserved
SOURCE: Hasbro, Inc.
As the countdown to this year’s coldest music experience continues, the Extra Cold Music team linked up with Doug Scott, head of OgilvyEntertainment. This branding guru has created #IceCold collaborations with global corporations such as IBM, Unilever, Nestle and Philips. He’s also twice been recognised by AdWeek as one of the top 50 most influential executives in the media and entertainment industry (#11 in 2013 and #14 in 2012). And now this Extraordinary expert is lending his skill to bringing us the Extra Cold Music concert on 7 June at Supersport Park, Centurion. We spoke to Doug about what it takes to create a world class Next Generation music experience and what he’s looking forward to experiencing at the concert.
We imagine you have multiple projects on the go at any given time. What is it about opportunity to collaborate with the Extra Cold Music initiative that drew you this project?
I was really attracted by South Africa’s growth in leadership in the region from a music perspective and this seemed like a great showcase of music, art and entrepreneurship. Of course, Castle Lite has a history of bringing great music acts to South Africa – Drake, Kanye West – and this seems like the next step in the evolution of the brand’s point of view in terms of music leadership. I also love the integrated nature of the project – it has different touch points: content, mobile, digital, activations in bars and taverns, all eventually culminating in this amazing concert.
Please tell us a little about the process involved in conceptualizing the Extra Cold concert and what elements you considered in marrying the brand to the experience.
We had a workshop with the Castle Lite brand team in South Africa, which was about unlocking the correct positioning for the brand and establishing the brand’s point of view in the music landscape. It was a really creative space. We unlocked this extraordinary experience and we had to think about who is relevant and how can we create a point of difference for the brand. This is truly an approach that no other brand can take, including having a curator and partner like Timbaland.
The Timbaland association is obviously key to this production. Tell us a bit about his role and how this particular aspect of the collaboration is going to be expressed?
Timbaland has been a collaborator since day one. He really wanted to understand what is happening in South Africa in the music space and collaborate with a local artist and bring some unique South African flavor to the event. For him, it’s all about showcasing the diversity of the people and the music. When he’s in South Africa, he’ll play the role of the brand ambassador in the market place, but he also has an interest in developing young musicians, which is why he’ll host a workshop in South Africa.
What are the ingredients for choosing the perfect celeb partner?
The artist has to have passion for the opportunity. I’ve seen too many situations where artists are there only for the paycheck and the deal. Creativity is important because the celebrity has to understand the brand point of view and how it intersects with their own vision. The celebrity needs to think about doing things differently, so innovation is important. And, if they’re playing the role of spokesperson, they have to have credibility in the market.
With such a grand production, there have to be some challenges. What have been some of the challenges you’ve experienced in putting together this spectacle?
Logistically, the challenge has been in ensuring the artists schedules are synchronised so they can be in South Africa, and so they can have time to rehearse even before they arrive in South Africa. We understand the nature of a collaborative show – things have to blend together nicely so it doesn’t look like a bunch of artists on a line up thrown together on stage.
"I can say this is something that hasn’t been seen in South Africa before."
Are there any special elements or touch points that concert-goers can expect to be amazed by?
From a design perspective, the stage, lighting and the entire stadium will be transformed into something extraordinary. I can say this is something that hasn’t been seen in South Africa before. The music and visuals are out of this world. We’ve focused on giving people the best experience possible and give them something that has virality – they’re going to want to take pictures and share them with their networks.
Besides the Extra Cold Music experience, what are some of the most exciting things happening in the branded entertainment/ content space at the moment?
Many brands are moving into content and publishing, such as the Red Bull media house, and are creating channels for their own brands. We’re going to see more of that, especially in the beauty and fashion space. Then, understanding the use of data is important. I don’t like to talk about ‘big data’, but rather ‘smart data’ that can be used to create targeted content. There’s also a move away from providing content and into creating an overarching brand narrative, such as what we’ve seen Dove do in the beauty space.
You once said that ‘brands should own entertainment, rather than rent it’. Has this stance evolved? If so, how?
I still stand by that, but it’s all about creating entertainment that fits into the narrative. I don’t think a brand can own a certain point of view and then continue to borrow someone else’s platform. Brands have to be part of the ongoing conversation and they have to play a role in the consumers’ lives and serve a certain function for those consumers.
What does the term ‘Extra Cold’ mean to you?
To me, Extra Cold represents pushing beyond limits. This is a really interesting play on words, on the idea that something is ‘hot’. Castle Lite successfully created and owned this term – it’s about experiencing something you’ve never seen, heard or felt before. It’s a really strong brand promise; when I say it I can already feel a cold shiver down my spine and you know you have a good story when you touch senses. I think the brand’s done a good job with this.
"I can’t wait to see Nas perform with the Hipster Orchestra."
What’re you most looking forward to seeing at the concert?
I’m looking forward to the whole experience, especially how the audience responds throughout the course of the day. In terms of performances, I can’t wait to see Nas perform with the Hipster Orchestra. There are loads of surprises lined up.
What sets this Next Generation experience apart?
This show is really going to inspire the audience and it’ll be talked about for years to come. This is a truly global experience with global artists and cross-global collaborations. It’s really representative of where we’re headed and South Africa is leading the way on the African continent. Then, also, it’ll be a lot of fun. I attend a lot of events and concert experiences, but this is probably the most exciting event I’ve attended in the last two or three years.
For a limited time only, you can take advantage of the Early Bird special – R350 for a General Access ticket at www.computicket.co.za – do not delay!
Abby Marks, Director of Strategy and Operations for Ogilvy Entertainment, entered the creative world of advertising via management consulting. In this fascinating interview, Abby talks about the process of creating branded entertainment, a comparison between branded and native formats, global applications with clients, examples of success and predictions for the media landscape. She also offers great insight into Ogilvy’s recent BEAM whitepaper on branded entertainment, which can be accessed at this link: Ogilvy.com/beam.
There are five videos that can be viewed at WeislerMedia.
Subject and Length (in minutes):
Branded and Native (5:27)
Processes and Success (4:17)
Predictions and BEAM (6:41)
Below is a short excerpt of the interview:
CW: How has branded content changed in the four years that you have been at Ogilvy?
AM: It’s an amazing time for branded entertainment and branded content. We are really seeing the shift in consumer appetites for content and the willingness to go over the top and pay for that content. So for brands, the ecosystem is past the tipping point. The past year and a half has seen a huge swell of brands that really understand that opportunity. When I started at Ogilvy Entertainment in 2010 it was still a time of convincing brands that they needed programs collaborating with media partners, creating their own series, hosting them online and promoting them as if they were a TV or film property. Today we are seeing that shift.
Consumers too are getting much smarter. They are not put off by brands that create compelling content if it is insight driven and if it feels relevant to where a brand should be playing, like Dove’s “Real Beauty” sketches or Lacta’s “Love in the End” film. [Editor’s note: The Lacta video is highly recommended.] Consumers are open and receptive if it is great content and it is compelling to them. They don’t mind that it is from a brand.
While foraging around the internet I noticed a wonderful thing. The Blair Witch Project website is still live.
I assumed that much like all movie marketing websites that are more than two years old, it would have been shut down or repurposed as a DVD product page.
Then again, The Blair Witch Project website is far more important and era-defining than any other traditional movie homepage with simple links to trailers and cast & crew biographies.
In 1999 I was beginning to use the internet for the first time and I was part of the gullible first-wave of audience members who truly believed that The Blair Witch Project was a genuine documentary. Thanks to its website fleshed out with fake news reports, interviews, a history of the Blair witch and stills from the evidence room.
This experience taught me an awful lot about low-budget film-making, the power of online marketing and not to believe everything you read on the internet.
The Blair Witch Project managed two extraordinary firsts. It set the template for the now ubiquitous ‘found-footage’ movie and it became the first example of online movie marketing that truly succeeded.
The film went on to make $248m worldwide on a budget of $750,000. It may still to this day be the most successful example of a viral movie campaign.
Here are 13 more examples of intriguing and mysterious movie marketing from the last 13 years: https://econsultancy.com/blog/64588-14-intriguing-and-mysterious-examples-of-online-movie-marketing#i.1ievah4l6bfj4t
Back in January when the Cannes Lions International Festival of Creativity announced more ways it could take your money -- er, I'm sorry, more ways it could recognize your brilliance -- I was a little skeptical.
Even more categories? Because, what, the creative industry still suffers from a shortage of opportunities for self-congratulation? Apparently so. A new Product Design category arrived with four subsections: Consumer Goods; Well-Being and Environmental Impact; Interface; and something called Solution (?). And all that came in the wake of a newly revamped Cyber Lions category with new subcategories including Social, Branded Technology and Branded Games. Not to mention Lions Health, a new, separate event-within-the-event aimed at the health-care field.
Credit: Kelsey Dake for Ad Age
At the time, I had my fun with the announcement, suggesting that if Cannes was going to overthink the awards, it might as well go all out. I proposed a whole slew of additional new categories and subcategories, including Best Team-Written Pre-Scripted "Real-Time" Tweet, Most Impactful Interface Solution, Best Implementation of an Activation, Best Execution of an Activation's Implementation, as well as in-depth recognition for that whole industry-within-an-industry, Sofia Vergara implementations (Best Sofia Vergara Ad: Outdoor, Best Sofia Vergara Ad: Indoor, Best Sofia Vergara Ad: Mobile, Best Sofia Vergara Ad: Stationary).
Maybe next year?
I should note here that last Wednesday my colleague Shareen Pathak reported that Cannes has brought in at least $28.2 million in entry fees this year -- $4 million more than last year. And that's a conservative estimate; Shareen based her calculation on the number of entries in various categories (there were 37,427 entries from 97 countries this year, a 4.4% increase over 2013) and base entry fees for those categories, but excluded the (unknown) late-entry-fee windfall.
In other words, the market has spoken: There may still not be enough awards!
Read the rest of article http://adage.com/article/the-media-guy/agencies-time-rethink-overthinking-strategy/293584/
So what’s the ROI on all this content?
It’s the million dollar question for marketers today. Yet when it comes to properly measuring performance, not being able to effectively track success metrics on content creation is a common predicament.
The problem is two-pronged. First, there is a lack of an industry standard for measuring content performance. Traditionally, marketers have relied upon top-level metrics like the page view to form a benchmark for content measurement and comparison. While there certainly isn’t anything inherently wrong with this approach, it leaves much to be desired.
The second half of the problem stems from not being able to piece together the data that exists in various tracking systems and data silos to form an accurate and holistic picture of a single piece of content’s performance.
To understand how we would like to measure success, we should first better understand why content marketing fails.
There are dozens of existing analytics solutions focused on different applications: from tracking people to tracking mobile app activity, to tracking pageviews and ad impressions. With the recent rise of content marketing, the next logical step is to develop a more advanced analytical toolkit that marketeres can use, designed with an individual piece of content as the centerpiece.
A new generation of tools focused on solving these problems had recently emerged, including Contently Insights, Chartbeat’s recent announcement of support for native ads, Sharethrough’s Content Quality Score and Visually’s newest Native Analytics for measuring visual content performance.
This new generation of tools needs to answer the hard questions being posed by marketers investing in content marketing. Should content marketing be judged and measured as a brand building exercise? An excercise in thought leadership? Cold hard direct response dollars and cents? All of the above?
What we need is a new analytics framework native to the world of content and built towards answering the ROI question in as direct a way as possible. Adapting the 5 W’s of information gathering, we can use the following as a guide for answering the following questions:
Marketers are accustomed to being able to target and measure their advertisements based on interests, demographics, psychographic and in-market intent data, using all forms of digital media platforms going back to the pre-internet age with TV and radio. Why should they have to settle for less when it comes to seeing who is viewing their content online?
Using a Native Analytics approach, you should be able to have access to detailed information about your content’s audience in order to confirm that you are reaching your intended audience.
Is content about my products’ features and functionality or general content about my industry resonating better with my audience? This means figuring out which topics are most popular and which different forms of content (video/image) are the most appropriate fit for campaign goals.
Is my audience a fly-by-night bunch of carpet baggers or are they deeply engaging with my content and intending to buy my product in the near future? Metrics relevant here include average time spent viewing, which can be measured by session length.
Where in the world is my audience engaging with my content the most? Does this match my ideal market for my goods and services where my advertising dollars are being spent? Are they viewing my content on third party websites or on my own site?
In fact, up to 10x the amount of views can take place off of your own website (if you are lucky), so measuring this off-site attention on your content can be critical to painting a full picture of its success.
The most meaningful metrics are those that tell you something you wouldn’t have otherwise known and communicate an insight that was previously hidden to the naked eye. Intent is one of the most difficult metrics to quantify directly, but can be estimated based on other signals. Those include, but are not limited to things like “traffic source – did they read it by clicking through on a friends facebook link” and “organic search – was the content arrived at from an informational query through google like ‘how to tie a tie?’”. Understanding the intent behind a view is an important piece of measuring the content’s performance.
The million dollar question in content marketing. Attempting to answer it directly is going to be highly dependent on a multitude of factors, like your industry, benchmarks and lifetime value of a customer to your business. At the end of the day however, arriving at a value for your content in dollars and cents is the missing piece of the puzzle. Once comprehensively answered, we can try and settle the debate over content marketing and its value to brands.
What challenges have you faced when trying to track and measure the performance of your content? You can start learning more what native analytics can do for your visual content, using Visually’s new Native Analytics Tool. Let us know what you think!
Digital marketers are drowning in a sea of content. White papers. Infographics. Viral videos. Blogs, blogs everywhere, nor any drop to drink. We’re all seeking patterns in this astounding array, and as a result, many marketers have read more content strategies and how-tos than we care to recall.
So I’m thrilled that Distilled gave me the chance to create something more nuanced: an in-depth investigation of content strategy at top brands. I come from a journalistic background, and I’m always excited to story-hunt. My goal is to give a window onto big brands playing the content game: not just a stack of tactics, but insights into why and how.
To research this report, I interviewed individuals caught up in brand ecosystems as well as marketers from agencies, consultancies, and the brands themselves. I’ll share hard-won stories from brands including (but not limited to) Coca-Cola, General Electric, Dell, IKEA, L’Oréal, Honda, SAP, and Facebook. I also want to thank the Distilled team: Cheri Percy and Harriet Cummings for adding their insights, and Matt Mitchell-Camp, Richard Westenra and Volodymyr Kupriyanov for their design, development and data work.
Now, to set the scene: a quick overview of content marketing basics.
Unique content that is useful or emotionally engaging, while staying relevant to the parent brand, is the Holy Grail. Colonizing, owning, and becoming the go-to resource for a specific topic that is relevant to the parent brand is the other Holy Grail. For example, in 2007 American Express created OPEN Forum, an online community for small business owners that pulled in a plethora of articles, tips, experts, and users – and, ultimately, birthed a national USA holiday called Small Business Saturday. Small Business Saturday now boasts endorsements from both Congress and President Obama.
Indeed, the makeup powerhouse L’Oréal actually owns makeup.com. This particular tactic would be awesome for you if you had the foresight to snap up obvious domain names in 1998, or if you have a spare million dollars lying around.
Brands are thinking more and more like publishers, complete with editorial calendars and content that is specifically designed to be great without overtly promoting the brand. Luxury brand Louis Vuitton has a gorgeous arts and culture website called Nowness that does not mention Louis Vuitton on a single page – not even the About page. Tech brand Intel joined forces with media company Vice to co-design a site called The Creators Project, which profiles interesting intersections of tech and art across the world.
In fact, well-known publications from Wired to Forbes to Huffington Post are creating content strategy branches. A lot of journalists are moving individually towards content strategy, too – as I noted before, my own background is in several writerly genres. My consultancy is even called Journalism For Brands. So clearly, you can rely on me for unbiased coverage of how great journalists are.
‘it’s pointless to distinguish between “content versus social,”’
Good content can be remixed and repurposed for many channels, to the point that it may be indistinguishable from social media. A white paper can become a ‘top ten tips’ blog post, and each tip can be an individual tweet, plus infographics can be pulled from the data and then shared on Facebook or used in the inevitable SlideShare presentation … et cetera. Good content should always be pushed to the appropriate social channels, and there are usually ways to make content social in itself, such as enabling comments on a blog. In a lot of cases, it’s pointless to distinguish between ‘content versus social,’ or to silo the two away from each other.
General Electric uses one of three labels for every campaign’s scope: ‘campfires, fireworks, and forest fires.’ Campfires are small pieces with limited scope; fireworks are bigger and reach across multiple platforms; forest fires are huge brand pushes with facets throughout GE’s digital ecosystem.
I like this table from Colleen Jones’ book Clout: The Art And Science of Influential Web Content. It’s a neat summary of how the best content marketers think nowadays, in contrast to ad-based marketing attitudes...
Brands partnering with entertainment outlets to produce content represent an effective, though selective phenomenon, according to entertainment executives at a recent Creative Week panel in New York. They were there to commemorate the 10-year anniversary of Scott Donaton‘s book, Madison & Vine that spotlighted the trend.
“It was about marketing in an end-user controlled world. It was initially fear-based, that TV viewers would skip ads because of the introduction of TIVO. The thought was that brands could say worthy things that are story-based”, explained Donaton, former editor of Ad Age, and currently global chief content officer at UM Studio.
Key takeaways revolve around the evolution and dynamics involved:
Defining moments of branded entertainment abound, especially BMW Films (aka the gold standard) and BMW videos featuring Daniel Craig as James Bond. The Restaurant TV show also broke new ground. “The show’s thesis was that restaurants were the new theatre”, said Ben Silverman, founder and chairman of Electus. Of course, it’s easy to see that now, but it was rather novel at the time. Among other notable collaborations are American Idol and Coca-Cola, The Biggest Loser and 24-Hour Fitness, and Transformers movie and Hasbro.
Moving the brand needle: Not surprisingly, the executives behind similar initiatives are supporters of their value. The show Sons of Anarchy was pitched to Harley-Davidson as “The Sopranos meets Easy Rider“, said Mark-Hans Richter, the company’s SVP and CMO. “Over time, it’s been a great partnership. It does help to sell Harleys, though it’s hard to separate it out. Harley-Davidson is the #1 selling motorcycle now among young adults”. He said many elements went into the increased market share, including the show.
Not too big to fail: Still, not all programs work so seamlessly. Jae Goodman, co-chief creative officer and co-head of marketing at CAA Agency, was big enough to own up to a particularly unpleasant memory. He recalled when one of his former clients, The Gap, hired his firm during the 2008 election to turn the flagship store into a giant voting booth, complete with robots. However, the engineers couldn’t get them to work, so the store remained closed for a day. After the passage of time, they do work for Old Navy, another Gap brand, now he noted.
Selective adoption: “This is such a bespoke area that it hasn’t scaled. It’s a resource issue, and it involves lots of work”, noted Donaton. “Now the process hasn’t really accelerated much further over time, since you need to find like-minded people to do the work”, Silverman added. “But once clients do branded entertainment and it works for them, then they’re willing to do it again. Overall there’s a big reward for those brands”.
Even well-known directors like Ron Howard are willing to work with certain brands, Donaton said. Plus, late night comics like Jimmy Fallon and Stephen Colbert, occasionally feature specific brands in their tongue-in-cheek sketches.
A ten-year perspective: As Donaton, who coined the term “Madison & Vine”, said, “it’s a thriving center of commerce, and has been transformative, though it extends beyond Hollywood and is a global phenomenon now”.
Time has also added some elements of financial control. As Goodman said, “now the checkbook stays in the back pocket until the idea is set. For many in this space, the overriding approach is “idea flow before deal flow”.
Credit: 'Comedians in Cars Getting Coffee'
Acura has signed up to sponsor comedian Jerry Seinfeld's "Comedians in Cars Getting Coffee" web series for four more seasons.
The luxury automaker said it will exclusively sponsor 24 new episodes, or seasons six, seven, eight and nine, on Sony Pictures Television's Crackle.com. Acura will also exclusively sponsor the fourth and fifth seasons, debuting online this summer and fall.
The popular Web series has featured Mr. Seinfeld talking comedy with a variety of entertainment figures including: fellow Seinfeld alumni Larry David, Jason Alexander and Michael Richards; late-night talk show hosts David Letterman and Jay Leno; shock jock Howard Stern; and comedians Louis CK, Sarah Silverman, Chris Rock and Seth Meyers.
Talent agency Creative Artists Agency arranged the latest deal between Acura and Mr. Seinfeld. Since debuting in 2012, the Web show has drawn more than 40 million streams.
Acura has established a strong working partnership with Mr. Seinfeld.
Previously, Mr. Seinfeld co-starred with Mr. Leno in a 2012 Super Bowl commercial for Acura.
In a previous interview with Advertising Age, Mr. Seinfeld described Comedians in Cars as a "different type" of content. His spoof Acura ads worked well within the offbeat concept, he thought.
It's "not a real show. There's no narrative story like 'Two and a Half Men.' It's not 'The Tonight Show.' It's a weird show," he said. "So if you have a show that's already a weird show, you want to have commercials that are weird. That's a good fit."
Volvo Trucks' “The Epic Split” from Swedish ad agency Forsman & Bodenfors won Best of Show across the Advertising, Interactive and Branded Entertainment disciplines at the 41st Annual One Show Awards held last night at Alice Tully Hall in Lincoln Center.
In “The Epic Split,” action-star Jean Claude Van Damme carried out his famous stunt, a split between two trucks moving in reverse. The test illustrates Volvo Trucks new dynamic steering system in a spectacular and entertaining manner.
“Well-conceived and beautifully shot, ‘The Epic Split’ is precisely the kind of creative work that cannot be pigeonholed into a single discipline,” said Kevin Swanepoel, President of The One Club. “The fact that it was the most parodied spot of the year is testament to its pervasiveness and engagement.”
Meanwhile, “Project Daniel” by The Ebeling Group and Not Impossible Labs, and Kikuchi Naruyoshi: Jazz by Hakuhodo tied for Best in Design in the One Show competition.
Overall, there were 374 winners that emerged from 21,300 submissions from 63 countries – 97 Gold Pencil Winners, 142 Silver, 134 Bronze and one Green Pencil.
Forsman & Bodenfors won Agency of the Year, enjoying tremendous success across Advertising, Interactive and Branded Entertainment disciplines. Dentsu/Tokyo, won Design Agency of the Year. Ogilvy Group was named Network of the Year. And Volvo Trucks earned Client of the Year distinction.
In the Advertising discipline, among the Gold Pencil recipients were: Barton F. Graf 9000, NY, with 350 Action’s “Climate Name Change” honored in both the Public Service: Non-Broadcast and Public Service: Integrated categories; Clemenger BBDO, Wellington, NZ, which turned out Transport Agency’s “Mistakes” which topped the Public Service: Cinema category; Deutsch LA in Consumer TV for Volkswagen of America’s “Baby”; Wieden+Kennedy, London, and Nexus, London, for Honda UK’s “Hands” in the Video Craft: Direction category as well as Over :60 Second Single Consumer TV spot; Ogilvy Brasil for Unilever/Dove’s “Real Beauty Sketches” which scored Gold Pencils across Consumer TV (Over 60 Second Single), Non-Broadcast (Online), Integrated Branding Consumer Campaign, and Digital Direct Marketing/Social Media & Viral; Ogilvy NY for IBM’s “A Boy and His Atom” which scored in the Innovation category; and Wieden+Kennedy, Portland, Ore., for best TV :60, Old Spice’s “Momsong,” and for Commercials of Varied Length Campaign for Old Spice’s overall “Smellcome To Manhood.”
Branded Entertainment Gold Pencil winners included: BBDO New York in the Film: Branded Content category for AT&T’s “From One Second to the Next”; Creative Artists Agency, L.A., and Moonbot Studios in Shreveport, Louisiana, for Chipotle’s “The Scarecrow” which copped Gold Pencils in both the Gaming: Branded Content and Online: Short-Form categories; Leo Burnett, Sydney for Diageo’s “Road to Recovery” which scored in the Experiential: Events category; Ogilvy Paris in the Mobile: Branded Content category for Scrabble’s “Scrabble WiFi”; Pereira & O’Dell, San Francisco for Skype’s The “Born Friends” Family Portrait which scored in the Online: Long-Form category; and VML, Kansas City, which scored in TV Documentaries for the Nashville Convention & Visitors Corporation’s “For The Love Of Music.”
The complete lists of Pencil winners can be found here:
Branded Entertainment: http://oneclub.org/images/pdf/2014/2014-entertainment-pencils-byagency.pdf
Intellectual Property & Products: http://oneclub.org/images/pdf/2014/2014-ip-pencils-byagency.pdf
POSITION This new Buzz Marketing role is primarily responsible for constant and compelling exposure of Apple products with high-profile users, especially those in film and television. The position also supports key iTunes and Apple Retail initiatives. The position reports to the head of worldwide Buzz Marketing and keeps aligned with PR, Marketing, Apple Retail and iTunes.
IDEAL CANDIDATE The ideal candidate must have extensive experience in the entertainment industry, approximately 7-10 years and preferably in television. Candidate will need to have proven understanding of the inner workings of TV and film. Each year, Buzz manages hundreds of external partner relationships, placements, events and influencers so the candidate must be fast, opportunistic and adaptable. Candidate should also demonstrate a strong ability to influence others. Strong leadership abilities are required, as this position informally leads multi-disciplinary teams toward a common goal, and requires communication expertise at both a strategic and execution level. Candidate will also have a background which demonstrates success in budgetary management, resource time management and workflow. Candidates will have significant project management experience and great attention to detail. Strong written and verbal communication a must.
Requires BA/BS or equivalent qualification.