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Lufthansa Claims World First with Augmented Reality App for Premium Economy

Lufthansa will allow prospective travellers to explore its Premium Economy seats and extra legroom with an augmented reality app.
The airline is claiming a world first, since its latest app does not require a specific logo or image to activate it. Most augmented reality (AR) apps, such as Blippar, only work when triggered by a brand logo or shape.
The app was created by digital agency Space and is now available to iPad and iPhone users running iOS 7 or later. Users who download the app will be prompted to grab pen and paper and “draw something that flies” – although any doodle with sufficient contrast will work.
Users can then scan the drawing with their phone to see an AR Premium Economy seat pop on their screens.
The idea is to promote the 50% extra legroom offered with Premium Economy seats, so users can rotate the chair to see different features, and even fill up the extra space with virtual reality objects, such as cricket balls.
Via: Brand Republic 

Oasis Re-releases (What's the Story) Morning Glory with Augmented Reality

Oasis’ label, Big Brother Recordings, has breathed new life into the band’s best-selling album, (What’s the Story) Morning Glory, by adding augmented reality content.

The label has reissued the album as part of a special series and partnered with augmented reality app Blippar to give fans access to extra features.
The record was originally released in 1995 and propelled Oasis into the mainstream, featuring “Wonderwall” and “Don’t Look Back in Anger”.
Fans won’t actually need to buy a copy of the reissued album to access the extra content.
Those that download the Blippar app to their smartphones can scan an image of the album cover, whether that’s from Google or their own copy.
They can also scan the Berwick Street sign, where the album cover was famously shot.
That will activate the extra features, giving fans the chance to recreate the album cover with their smartphone cameras.
They can also watch a 15-minute chat with Noel Gallagher, enter a competition to win the album box set, and buy the whole Oasis back catalogue through iTunes.
Via: Brand Republic

OOH is a New Point-of-Sale for Online Retail Brands

Second screen purchasing is gaining serious traction. As social media rolls out user friendly shopping tools such as Facebook’s Buy Button and Twitter’s Product Card, consumers have never had it easier when it comes to mobile shopping.
According to the Centre For Retail Research, online retail sales made via mobile devices will grow by 62% this year, to a total of £7.92 billion. This is equivalent to 17.6% of UK online retail sales. Sales using tablets will grow by 100%, to £3.10bn, while smartphone retailing is expected to grow by 44.3% to £4.82. Smartphones will provide 60.8% of UK mobile shopping.
Mobile shopping is serious business and out-of-home is primed to become the key medium to deliver second screen sales. The likes of traincards, billboards and bus shelters, combined with changing consumer behaviour and growing wifi and 4G connectivity, are swiftly becoming an effective point-of-sale medium for online-only retailers and ‘clicks and mortar’ companies to drive search and purchase from their screen-based ‘shop windows’.
KBH On-Train Media conducted research into the mobile behaviour of its 6.3 million monthly travellers. The Dipsticks study revealed 92% of travellers use a smartphone while on the train while 40% of rail users have bought a product or service via a connected device while travelling, compared to just 10% in 2013 (Dipsticks 2014, 2013). This compares favourably to the likes of TV advertising, which is often hailed as the industry’s most effective medium for prompting action, but actually only 30% of viewers are using second screens for programme-related purchases (Arris 2014).
The 50 minute average journey time of train users means that 45% of those who have found out more about products and services advertised on traincards have done so while still on the train. And now it’s easier than ever to purchase. Facebook’s Buy Button keeps the user on the social media platform, so it’s ideal for brands and retailers who may have poor website optimisation. Using the tool means consumers will not even need to open a new browsing window. You don’t even need to have a credit or debit card to hand – once a consumer has entered bank details once, they won’t be asked to do it again.
Twitter’s current shopping formats, the Product Card and Amazon Basket, both require the user to leave the platform to complete the transaction but it won’t be long before you can shop on Twitter without leaving the timeline. Twitter is trialling its own Buy Button in the US, via hand-picked musicians, such as Eminem and Pharrell, and brands Burberry and Home Depot.
Brands and advertisers should take full advantage of this change in consumer behaviour. By combining smart OOH advertising with online retail, there is a real opportunity to use the on-train space to influence what they search for, look and buy.
Via: The Wall Blog

L’Oreal Digital Shift for Real-Time Beauty Application

L’Oreal’s Makeup Genuis App offers a virtual experience for cosmetics. The app allows potential customers to see themselves wearing makeup that isn’t already applied in real life. Instantly try on different shades and shadows at the quick tap of a button by applying makeup to your reflection. When you hold your smartphone up, the preferred lip gloss, eye-shadow or bronzer moves along with your facial expressions while taking into effect the surrounding light.
Virtual cosmetics is a mess-free experience developed by a team of scientists and engineers in the company’s Connected Beauty Incubator. The team of 15 built out the app over two years, testing eye, lip and cheek products on hundreds of models with various skin types and colors. They put the models under 400 different lighting conditions to capture the natural change in shade and texture. Over 100,000 images were taken to differentiate the makeup from real-life and digital. According to Bloomberg Businessweek, Makeup Genius is the company’s most advanced digital production to date.
There’s no denying the app is head of the curve when it comes to beauty technology. Users can browse and ‘try-on’ different looks from makeup artists or scan any in-store product to see how it models through the screen. App users can share their favorite looks or designs with their friends and social networks for fun or to gather feedback on their new look.
Makeup Genius is available in France and the U.S., and has reportedly 1.7 million downloads to date. Makeup Genius is available for iOS download in the App store.
Via: psfk

Morley Aims to Boost Clear Channel and the Wider Sector by Exploiting OOH's Digital Potential

This summer’s appointment of Andrew Morley as the chief executive of Clear Channel appears to confirm that out-of-home is moving ever closer to the mobile sector.
Morley, who made a name for himself as the vice-president of marketing at Moto-rola for seven years, has spent the past three working for Google. His arrival at Clear Channel’s Golden Square came just weeks after Telefónica’s Shaun Gregory took the helm at Exterion across town in Camden.
Neither has worked in outdoor before, but both wax lyrical about the digital opportunities they see unfolding. Of the £1 billion advertising revenues generated by the sector last year, 25 per cent are now related to new digital sites.
“When I look at the media landscape, I see outdoor as having huge opportunities,” Morley says. “There’s some macro-social dynamics – people are spending more time outdoors. And, in terms of consumer habits, you can see how people indoors might use mobile alongside TV; outdoors, the natural connection with mobile is with outdoor advertising.”
Clear Channel has announced plans to add 75,000 QR codes to sites in areas that feature heavy footfall and long dwell-times in an initiative called Connect.
Universal Pictures used Clear Channel’s shopping malls network this summer to promote the movie Despicable Me 2. Children and parents were given the opportunity to personalise the on-screen creative of the film character Gru’s minions via their mobile phone.
“It’s about interacting with audiences in a different way,” Morley says. “People love it and clients love it, particularly in the entertainment space.”
In his new role, Morley leads 700 people and takes charge of 60,000 sites. Yet, for all the talk of reinvention, critics will note that less than 10 per cent of the industry’s sites are currently connected digital networks.
Clear Channel enjoyed a boost after British Airways’ “magic of flying” campaign swept the boards at Cannes. The ads demonstrate how dynamic outdoor can be, with creative controlled by GPS technology on the bottom of planes.
It is the ideal showcase for the company’s premium Storm operation. While Morley’s claim that the phones have not stopped ringing since Cannes must be taken with a pinch of salt, it’s a welcome boost to a part of the business that has yet to get into its stride.
The departure in July of Storm’s managing director, Errol Baran, indicates that the flexible digital business within a business has failed to gain traction. Some suggest that the market is not yet big enough to sustain its premium rates. Morley calls it “early days”, but insists: “We’re happy with how the first year’s gone and with the difference it’s bringing to the market.”
In terms of personal KPIs, it is surprising to hear that the new chief executive’s focus is on the wider industry as much as Clear Channel. He talks of being an ambassador for a medium that he believes should be twice as big and command 20 per cent of media spend.
He says: “My role is not to compete with the outdoor competitors, it’s to compete with the other media owners that have over their fair share.I want to grow the industry for everyone and, if we can keep our share [around 22 per cent], then I’m happy.”
Morley comes across as an incredibly smart and amiable operator; he sits well with Clear Channel’s reputation for housing a friendly and intelligent workforce, but is there a risk of being too nice?
Transport for London’s 10 year contract for London’s bus shelters, valued at more than £250 million, is now in play. The business has secured Clear Channel’s dominance of the six-sheet market in the capital. Morley should expect a tough fight if he wants to retain it, but be assured it will be against hungry rival outdoor players, not other media owners.
Via: Media Week

Hawes & Curtis, House of Fraser and Bentalls Install Beacon-Enabled Mannequins

Hawes & Curtis, House of Fraser and Bentalls have installed beacon-enabled mannequins in their store windows – a first for the retail industry.
Created by Iconeme, a technology and design company, the VMBeacon mannequins enable customers to receive details via their smartphone about the clothes on display and let retailers engage directly with consumers who are shopping in, or passing by, a store.
To access the technology, customers need to download the free Iconeme app, which they can then use while shopping in one of the participating retailers.
When a customer with the app is within a 50m range of a VMBeacon-enabled mannequin, they will receive an automatic alert about the content they can access.
This includes details about the clothes and accessories displayed, such as price and links to purchase the items directly from the retailer’s website, or where they can be found within the store.
Shoppers can also see more detailed photos and descriptions of the products plus save looks for later, share with friends and access additional offers and rewards.
The technology allows Hawes & Curtis to choose what information is made available, plus also gives access to analytic reports to gain customer insight and help improve service and sales.
As the brand begins to collect consumer data it may begin to experiment with tailoring offers it makes available through the mannequins.
Shoppers using the app have the ability to choose which of their details are made available, via their own privacy settings.
House of Fraser will use the VMBeacon mannequins at its online store in Aberdeen where customers can view product ranges, collect their online purchases and shop the department store’s website via iPads and terminals.
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Via: The Drum

TfL Tests Free WiFi on London Buses

Transport for London (TfL) has launched a free WiFi trial on two buses operating in the capital.
The trial will see WiFi technology installed on a route 12 bus, operating between Dulwich and Oxford Circus, and a route RV1 bus, which operates between Covent Garden and Tower Hill.
It is hoped that if the trial is successful the sponsors could help fund its extension to further buses in the fleet.
TfL has also begun to trial two further pieces of technology in the form of an upper deck seat indicator and enhanced passenger information screens.
The new technology, which analyses information from the onboard CCTV system, displays seat availability on a screen at the base of the stairs.
Other improvements include the installation of interactive digital screens on Regent Street, delivered in partnership with Clear Channel, and on Eden Street in Kingston, delivered in partnership with JCDecaux, which provide live bus arrival information, alongside real-time updates on other public transport options.
Via: The Drum

Zealios Creates Sunlight-Activated Digital Coupon to Promote Sunscreen

Sunscreen company Zealios Skin Care has teamed with TBWA Toronto to create a sunlight-activated digital coupon.
The coupon, delivered via an app for Android phones using the Firefox browser, uses an ambient light sensor that is included in most handsets, but rarely utilised by third-party developers. The app detects the intensity of sunlight on the phone and, when it reaches a certain level, activates a coupon offering users 50 per cent off Zealios’ Sun Barrier sunscreen.
Via: Mobile Marketing Magazine

EE to Offer Contactless Mobile Payments for London Travel

EE customers will be able to travel on London’s Underground, DLR and Overground networks using their mobile phones when TfL’s contactless program launches on 16 September.
EE is to become the only UK network provider to offer a contactless payment service, meaning that users will be able to use their mobile phones to pay for London travel instead of an Oyster card.
The service will use EE’s free Cash on Tap mobile contactless payment service app, which is due to be compatible with over 500,000 handsets this year. There will be no added charges for using Cash on Tap to pay for travel, and both daily and weekly caps ensure customers won’t pay any more than they would using an Oyster card.
“Users of the world’s greatest tube network will shortly benefit from the latest in mobile payment technology, allowing them to use their phone to pay for their daily commute,” said Gerry McQuade, chief marketing officer, EE. “As more and more people benefit from the simplicity, convenience and security that mobile contactless payments offer, it’s rapidly becoming clear that the days of the physical wallet are fast becoming numbered.”
Speaking at the IAB’s Mobile Engage conference in May, Weve’s CEO, David Sear, said that 2014 is the year in which there will be a “massive shift” in the way people use their mobile devices and that consumers are at the “tapping point” of contactless payments.
Sear said that the desire for consumers to be able to use their mobile phones for payments – devices that they are “emotionally attached” to – is a natural progression for the relationship between consumers and smartphones.
“We trust our devices – they contain our lives – and payment is a natural extension of that trust.”
Via: MediaTel

Arena Media and Posterscope Launch Integrated Mobile and OOH Campaign for Westfield

From the 28th July until the 10th August, Arena Media and Posterscope will be launching an integrated mobile and Out-of-Home campaign for Westfield. This campaign builds on the success of our recent integrated mobile and OOH media recommendations for the brand.
The campaign, which is targeted at families and young professionals and spans across the summer holidays, aims to build awareness of Westfield’s retail and leisure offering, as well as highlighting their live events and entertainment programme. The objective of the campaign is to position Westfield as ‘the place to be’ during this period; increasing footfall, driving turnover for retailers and increasing customer dwell time.
The campaign features a “Best of London” theme which focuses on film, fashion, food, art, music and theatre, with relevant offers being highlighted across both OOH and mobile display media.
Out-of-Home media planned by Posterscope incorporates 6-sheets and mobile display media. The campaign benefits from xAd’s mobile display technology to connect OOH media with hyper-local mobile targeting.
OOH locations were identified through analysis of Westfield’s target postal sectors for each mall, providing Posterscope the opportunity to maximise coverage of these key locations with the combination of both media types. Mobile display media has the role to amplify 6 sheet posters.
Posterscope was responsible for the recommendation of integrated planning using mobile and OOH media.

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