The Real World is Posterscope’s monthly Out-of-Home market update, containing latest industry news, key facts and figures and some really cool OOH campaigns. The presentation can be accessed here
SCOTLAND rugby fans have beaten the bagpipe ban ahead of today’s opening World Cup match against shock outfit Japan.
Organisers of the event in England have banned the pipes from stadia for the duration, but bookies Paddy Power have declared a Bagpipe Friendly Zone outside their city centre shop in Gloucester.
It comes after Scotland fans were left furious when party-pooper World Cup chiefs banned the pipes from all stadiums across the tournament.
The pipes are used for the national anthem at Murrayfield for Six nations and are regularly heard when the national teams plays across the world.
A queue of tartan-laden fans were spotted outside the Southgate Street shop enjoying a bagpipe-blowout without the risk of facing the long arm of the law.
One happy fan said: “We were a wee bit disappointed when we heard about the ban as bagpipes were our secret weapon against mighty Japan – we’re dead chuffed we’ve got somewhere else to play.”
Paddy Power said: “It’s no surprise the Scots got their kilts in a twist as quite frankly the ban blows – don’t get me wrong it’s bloody noisy in the shop, but we’re just happy to have done our bit.
Via: The Daily Record
Using motion activated technology in an OOH setting aimed at raising awareness on benefits of dancing for sufferers of Parkinson’s disease
Motion-activated technology has been put to innovative use in a new outdoor campaign for La Trobe University live in Melbourne this week, aimed at raising awareness about the benefits of dancing for sufferers of Parkinson’s disease.
Created by J. Walter Thompson and JCDecaux, the campaign utilises JCDecaux interactive Innovate panels to showcase breakthrough research being undertaken by La Trobe University into the debilitating disease, and therapy to alleviate symptoms.
Installed at three of Melbourne’s busiest stations, the panels will capture people waiting for public transport or walking by via motion detectors. They will then be asked by ‘Anne’ (a Parkinson’s sufferer who is featured on the panels) if they’d like to dance. Once people move in front of the screen, Anne will begin to dance. After a short time, she thanks the passer-by and information about La Trobe’s research appears on-screen.
“The use of motion activated technology in public places is an exciting way to communicate the importance of our research work, and how it is benefiting individuals in a very personal way,” said La Trobe University’s director, market development Matt Boyd.
The idea and creative platform developed by J. Walter Thompson aims also to reflect La Trobe’s brand essence of ‘Bold thinking with a conscience’.
“La Trobe undertakes a raft of groundbreaking research to benefit the entire community. Therefore it was important we developed a creative platform that would not only capture the public’s attention, but engage in a one-on-one experience to reinforce the amazing and very real effects its work and therapy can have,” explained J. Walter Thompson creative director Tim Holmes.
“We’re incredibly proud to be part of such an innovative project that not only engages the community, but benefits those suffering symptoms on a daily basis.
Danni Robinson, JCDecaux innovate operations manager, said: “It’s fantastic to see this unique motion sensor technology used in such a creative and beneficial way. OOH is a truly engaging medium and through this campaign, we show that actions really do speak louder than words.”
The campaign is live in Melbourne from 22 September – 5 October 2015 on the Southern Cross Station, Melbourne Central Station and Flinders Street Station concourses.
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Outsmart, which launched on the 24th September, will be led by CEO Alan Brydon and Chairman Mark Craze and will inform, educate and inspire advertisers and agencies to do wonderful things in OOH.
The new marketing body for OOH launches with the website, www.outsmart.org.uk and is the first port of call for advertisers, planners and creatives to showcase how OOH can be used in even bigger and better ways. The website will also include case studies, research and insight to demonstrate the medium’s core strengths – Impact, Action, Relevance and Creativity.
To prepare for launch, the new company has already created Insight and Effectiveness and Strategy Planning teams. This has resulted in numerous key appointments, including Tim Lumb as Insight and Effectiveness Director, Katie Ingram as Strategy Planning Director and Jo Scully as Assistant Strategy Planning Director.
Collaboration is a key factor in all of Outsmart’s thinking and actions and close working relationships have already been established with partners such as the specialist OOH agencies and their collective body the IPAO, as well as the OOH industry’s gold standard research body, Route.
An early manifestation of this is the OOH Forums, in partnership with the IPAO. The Forums will explore the many benefits of the medium, with the first set to focus on demonstrating its effectiveness.
Over the next 12 months Outsmart will roll out a series of initiatives including new research that help to further unlock the value and effectiveness of OOH, for brands and advertisers to make it a ‘must have’ on every media plan.
Alan Brydon, CEO of Outsmart, said “This is a golden age for OOH and there has never been a better time for the advertising, media and creative industries to utilise the medium. I am thrilled to be leading Outsmart and I am looking forward to helping agencies and brands make the most of the limitless opportunities the medium offers. Technology and consumer behaviour is enhancing the power of OOH and as more people spend more time out and about, in an ever more connected way, there has never been such an exciting time for the medium.”
Project Everyone ─ the brainchild of filmmaker and comic relief founder Richard Curtis ─ launched on September 26 2015 with the aim of sharing the UN’s Sustainable Development Goals (a series of ambitious targets to put an end to extreme poverty and tackle climate change for everyone by 2030), with seven billion people over seven days across an extensive range of platforms including digital OOH screens.
Out-of-Home communications agency Posterscope and media agency Blue 449 joined forces with their media partners across the globe to deliver the world’s largest ever digital OOH campaign in order to raise awareness of the initiative. Over 125 media partners came on board enabling the ad to be shown on over 146,000 screens in 450 cities, around 28 different countries, in busy central locations including Piccadilly Circus in London, Swanston Street in Melbourne, Bukit Bintang in Kuala Lumpur, Shibuya Crossing and Shinjuku Kabuki-cho in Tokyo and Times Square in New York.
Richard Curtis, founder of Project Everyone, said “The best chance of the UN’s global goals being met is if everyone is aware of them, and that’s where Project Everyone comes in, along with the support of its many partners. I have been overwhelmed by the response of brands, consumers and institutions alike to this initiative. Posterscope and Blue 449 have been instrumental with getting out of home media owners on board to help us get our messages across, to really raise public awareness of the issue at hand. With their help, we have secured sites in the busiest areas of key cities around the world to visualise the global goals and what Project Everyone stands for.”
Annie Rickard, Global CEO of Posterscope, said, “It is a great opportunity to be involved in an initiative like Project Everyone. We are delighted to be able to capitalise on our media network and connections to help raise awareness around the issues at hand and hopefully, slowly but surely, change the way we live and the world we live in.”
Phil Georgiadis, Chairman at Blue 449, said, ”There is no better an opportunity than Project Everyone to demonstrate the power of open source collaboration. Posterscope has secured through their media owner partners an extraordinary level of exposure for the Global Goals and in the process reminded us all of the broadcast impact of the Outdoor Medium”
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Storm Cromination London consists of six consecutive 96-sheet screens sold together as a single opportunity and will be one of the longest digital Out of Home advertising sites in Europe, spanning a vast 72 metres. Storm Cromination London launches on 12th October and will become Storm’s 21st site.
The new site, developed in partnership with Wildstone, will offer advertisers unrivalled creative opportunities through dynamic digital capabilities and Storm’s signature digital nameplates – allowing for total ownership by brands. The site’s famous special build elements will be retained as part of the transformation.
State-of-the-art digital capabilities allow for dynamic and reactive advertising copy and enable the screens to be utilised to suit specific campaign needs – whether this is displaying different brand creative on each screen or working in synchronisation to create one unified execution.
Storm Cromination London is the latest addition to Storm’s rapid portfolio expansion and is part of Clear Channel’s wider digital transformation project. Storm Cromination London follows the recent announcement of three new Storm sites in London – in Billingsgate, Lambeth and Shoreditch, and Storm’s first site outside London – the Queensway Birmingham. These four new sites complement a comprehensive premium offering across London, with further nationwide investment to be announced soon.
As the 21st site in Storm’s portfolio, Storm Cromination London represents a landmark achievement for Clear Channel’s premium large format digital brand, which was launched only three years ago.
Aimee McKay, Managing Director at Storm, said: “We are thrilled to be adding the digitised Cromwell Road to the Storm portfolio. The Cromination is already one of the country’s most famous Out of Home advertising sites and we think transforming the site is the biggest upgrade in UK Out of Home this year. We firmly believe transforming the site to digital while retaining the Cromwell Road’s famous special-build capabilities means Storm can offer advertisers the most creative space in UK Out of Home media.”
Advertisers at Birmingham Airport can now benefit from state-of-the-art premium displays following a major investment in digital media.
The high-impact displays were installed at key locations within the passenger terminals by digital communications expert ADXBA on behalf of Peel Advertising, which sells advertising at the UK’s seventh busiest airport. The digital media opportunities are mostly free-standing, although a number have been mounted on pillars within the international departure lounges and arrival areas.
The investment is already paying dividends, with brands including O2, EE and FedEx among the first to capitalize on the new premium opportunities.
Birmingham Airport caters for over 10 million passengers a year. Following a £40m runway extension, aircraft can now fly non-stop to the US west coast, South Africa and the Far East.
Matthew Carroll, Business Development and Operations Director at Peel Advertising, said: “This has been our first venture into digital media at Birmingham Airport. We worked closely with the airport and ADXBA to identify the best locations within the terminal buildings, and the new digital displays are fantastic with superb quality and screen definition. It’s a huge improvement on the existing digital range, and gives our clients the opportunity to move to a premium product at a premium location within the airport. We will continue to invest in the advertising infrastructure at Birmingham Airport following the great success we have had so far.”
Richard Gill, Head of Commercial at Birmingham Airport, said: “Birmingham Airport is continually evolving its passenger experience and looking for new ways for brands to engage with our visitors. We are pleased to bring our advertising sites right up to date.”
Jim Kerr, Managing Director at ADXBA, said: “We have worked in partnership with Peel Advertising from the start, examining passenger profiles and helping them identify the best locations where screens will offer the best return on investment. This is a significant upgrade from the static media that was previously in place. Digital networks enable live content and dynamic data feeds that are tailored to the type of passenger and time of day. We actively monitor and maintain the screens and content, which gives the airport peace of mind and leaves Peel to do what they do best – selling the space.”
Last year, ADXBA installed state-of-the-art screens into Gatwick and Stansted Airports in one of the largest investments in advertising in UK airports this decade. This involved the latest high-spec screen formats and gave advertisers the opportunity to “dominate” the airport environments.
Via: Outdoor Media Centre
For all the grumbling about the crowds, prices, temperatures, delays and the occasional crippling strike, Londoners have it pretty good with their public transport system. The services mostly run on time, are relatively reasonably priced and are certainly the easiest way to get around the city. The systems also run on a non-profit basis – all the revenues TfL produces are funnelled back into the network to improve the quality of service.
One of the most universal experiences of public transport in London is our exposure to advertising. TfL controls some of the most valuable and influential advertising inventory OOH networks in the world. Combined with the London Bus Shelter contract, the London Underground OOH contract represents 15 to 20 per cent of the UK’s total OOH market, collectively worth in excess of £1bn over the duration of the contracts. The London Underground contract is one of the biggest of its kind in the world, and demonstrates not only the power TfL holds, but also a dynamic unique to the OOH sector.
TfL is a landlord, which means that media owners must bid for the right to buy and sell ads on the network. The pitch process for the London Underground OOH contract recently opened, while the London bus shelter OOH contract has recently been awarded to JCDecaux, a change from the incumbent media owner, Clear Channel’s Adshel, for the first time in 30 years.
This relationship, in which media owners must rely heavily on winning contracts from third party landlords, is unique in the media industry to the OOH sector. The major contracts held by TfL are just the tip of the iceberg. There are roughly 7,000 individual contracts in the UK. These include local authorities controlling media space around public spaces, private companies with extensive inventory networks and individuals that happen to have a billboard on the side of their home.
However, in spite of its importance to the OOH sector, the pitch process for third party contracts isn’t nearly as well understood as that of media and advertising pitches. Huge amounts of work go into each and every contract tender, as media owners constantly seek to demonstrate to landlords the value of their expertise, the quality of their technology and the way in which they will maximise revenue for the landlord. This gives every tender the capacity to change the landscape of the OOH industry, both today and in the years to come, particularly when the tenders are for major inventory networks like TfL’s London bus shelter contract, or indeed London Underground.
The influence held by OOH landlords will be buoyed by the strong performance of the OOH industry recently. Even as traditional media’s audiences are declining, OOH audiences continue to grow. In February this year, Outdoor Media Centre found the industry had enjoyed its strongest quarter ever, with revenues close to £300m. In addition, the sector grew by 6.1 per cent in the fourth quarter of 2014 to reach annual revenue in excess of £1 billion, with overall annual growth at three per cent. OOH also saw higher growth than any other media industry over the last decade, apart, of course, from online.
With performance so strong, bidders for the London Underground contract will need to demonstrate how the industry’s success and growth will be reflected in the revenues they can generate. TfL is a public body, and as such has a responsibility to the taxpayer. It currently has a goal to generate £3.4bn in non-fare revenue. This means that the more revenue contract bidders can promise TfL the more likely they’ll achieve their goal, and thus the more likely the pitch will be successful. However, there are challenges media owners must address when credibly promising an increase in revenue. TfL’s inventory is predominantly fixed – the number of buses, bus shelters, tube trains and stations isn’t going to change too much over the next decade, so the amount of advertising inventory is unlikely to increase either.
Instead, successful bidders will need to focus on the one factor that can change, and provide real additional value – innovation. Delivering new exciting, high value, easily accessible, dynamic advertising propositions that resonate with the public is how media owners will be able to differentiate their offering. Innovation gives bidders a credible way to demonstrate how greater value can be driven through OOH media, by enabling campaigns to be more impactful, more engaging and more relevant to consumers.
That the purity of media innovation alone can be so influential to a successful OOH contract pitch shows how unique the dynamic of third party contracts is for the industry. However, it also forces the industry to consistently put its neck out, to push boundaries and break new ground. It transforms those of us working in the sector into pioneers, a cultural necessity that has a fantastic impact for advertisers.
Creativity, Context, and Data were the main themes discussed during Primesight’s media seminar on the 8th September 2015 @ MediaCityUK accompanied by a set of challenges to be overcome by the industry
In a first regional thought leadership event on the subject of digital out-of-home, Primesight led a breakfast seminar that saw the industry experts Sam Grant (Regional Director, Posterscope), Jeremy Taylor (Strategy Director, Grand Visual), Paul Sambrook (Business Development & Marketing Director, Rapport) and Mungo Knott (Marketing & Insight Director, Primesight) take part in a discussion about DOOH’s rich past, challenging present and bright future.
Rubbi Bhogal-Wood (Business Director, Primesight) introduced the seminar by giving an overview on digital outdoor growth over the past 10 years, where forecasts for its growth are being beaten every year. Currently, at 27% of all OOH revenue, digital outdoor isn’t showing any signs of slowing down. In fact, latest forecasts mention it reaching a 50% share of OOH expenditure by 2019. With 170 different formats in the UK and £75 million of investment by all outdoor media owners, half of out-of-home’s expenditure may even be reached earlier than in four years from now.
The challenges that are part of the current transformation of the OOH space were debated by the panel, which was moderated by Graeme Hughes (Regional Director, Primesight).
The panel was in agreement that the quality of creative has improved in the past years and has led to many examples of excellent campaigns that have taught media professionals valuable lessons. The examples mentioned included those of Pimm’s Live, Google’s Brand Love, Netflix’s GIF and 20th Century Fox’s Rocky Balboa digital outdoor executions. Mungo Knott talked about scalability still being a challenge despite the increasing digital panel portfolio throughout the UK.
Questions from the audience pointed towards the conclusion that additional research would be valuable to provide additional credentials behind digital expenditure to advertisers. Others pointed to the fact that digital OOH presents a lot of flexibility which pushes the boundaries of traditional trading and requires a change to the trading model to reflect impressions and audiences as opposed to the current uniform pricing per panel format.
The panel also reminded the audience that ‘a classic poster is perfect when there is nothing to take away from it’. The golden rules for digital out of home creative, however, are still being explored – with the opportunities for execution being expanded on an ongoing basis due to the creativity and curiosity at creative agencies, advertising agencies, and media owners alike.
Despite the wide array of tech available to enhance campaigns, panellists pointed out that within the core of a great campaign continues to be the big idea. All experts agreed that a better understanding on the subject of digital outdoor capabilities is vital across all players in the industry. Of course, the boundaries of these capabilities are continuously changing as the industry introduces the use of various third party data and partners with tech business to generate clever and engaging digital outdoor executions.
As a final note, having been asked to point out the one area that the industry has to concentrate on, the panellists covered the importance of adopting a uniform trading model across all media owners (Sam Grant), the clever use of context (Jeremy Taylor), audience pricing and improved campaign reporting to clients (Mungo Knott) and the need for enhanced scheduling and automation within outdoor (Paul Sambrook).
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Ubiquitous Taxis and Proxama the mobile proximity marketing expert, have announced an exclusive, long-term partnership to create a network of beacons in the UK’s black taxis, enabling messages to be delivered direct to an engaged audience experiencing times of dwell.
The network will connect consumers to brands via their smartphones using Bluetooth Low Energy (BLE) Beacons. The partnership will plan to install up to 4,000 beacons into taxis in London and other major cities including Edinburgh, Glasgow, Manchester and Birmingham, meaning that passengers can receive context-relevant messaging, as they travel to their destinations.
During the course of one year, each London taxi is estimated to make around 4,500 journeys, principally around central London locations, rail stations and London’s airports – similar journeys are experienced in other UK key cities. London’s regular taxi users tend to have high personal income, are smartphone and tablet enabled and are likely to be middle-management and above – in short, a very desirable group and one which brands very much seek to reach. This new beacon network represents an opportunity not only for Ubiquitous’ clients to send contextually relevant messages to passengers’ smartphones, but will be relevant to all app-based clients seeking a beacon network that engages with high value consumers, across a long dwell time.
Andrew Barnett, Managing Director, Ubiquitous comments: “Being the first company to put beacons into black cabs at scale is consistent with our innovative track record and I am delighted to be working with Proxama who are quickly establishing themselves as pioneers in this market. For all brands, the opportunity to connect with their customers through proximity marketing, in a high dwell-time setting such as the back of the cab, provides a unique one-to-one moment in which there is the time to respond to messages and offers.”
Based on data from their existing beacon networks, Proxama anticipate that 24% of consumers that receive ‘in-the-moment’ content-relevant notifications will click-through to the app. This is a significantly higher response than other forms of mobile advertising.
Jon Worley, CEO of Proxama marketing division comments, “This is an excellent high profile partnership for us and one which we believe is extremely well suited to proximity marketing. The average cab journey lasts around 20 minutes in London and is a natural time for people to engage with their smartphone for messages and new content. We look forward to seeing the customer reaction. Our network of beacons has grown rapidly across London since the beginning of the year. Advertisers are now able to make use of the Proxama Network which covers London buses, airports and black cabs, with further expansion planned across multiple sectors.”